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Ci}£XRIGHT OEEOSm 



I (Denhofi-i Royalty ^layi B 

Cutting It 
Over 

by 
Larry E.Johmon 



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^ubli^her:^ • Chicano 
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PUTTING IT OVER 



PUTTING IT OVER 



A Dramatic Comedy 
In Three Acts 



BY 

Larry E. Johnson 




CHICAGO 
T. S. DENISON & COMPANY 

Publishers 






IMPORTANT WARNING 




HE ACTING RIGHTS of this play, 
under whatever title performed, are 
fully protected by author's and publish- 
er's rights and copyright, and all in- 

frin^ements will be prosecuted. 

For AMATEUR presentation, whether admis- 
sion is charged or not, a royalty fee of fifteen 
($15.00) dollars for each performance must be paid 
in advance to the publishers, T. S. Denison & 
Company, 623 S. Wabash Avenue, Chica|,o, 111. 
For PROFESSIONAL terms, apply to the pub- 
lishers. 

<:> o --s^ 

e/lttention is called to the penalties provided 
by the Copyright Law of the United States of 
America in force July 1, 1909, for any infringe- 
ment of the owner's rights, as follows : 

Sec. 28. That any person who willfully and for profit 
shall infringe any copyright secured by this Act, or who 
shall knowingly and willfully aid or abet such inf ring,ement, 
shall be deemed guilty of a misdemeanor, and upon convic- 
tion thereof shall be punished by imprisonment for not 
exceeding one year or by a fine of not less than one hundred 
dollars nor more than one thousand dollars, or both, in the 
discretion of the court. 

<::> "Q^ "=0 

COPYRIGHT. 1922, BY LARRY E. JOHNSON 
CALL RIGHTS RESERVED 

©CLO 62544 

007 2172 



PUTTING IT OVER 



FOR FIVE MEN AND THREE WOMEN. 



CHARACTERS. 

Tom Browne The Chief Engineer 

Jack Stewart Who Drew the Plans 

C01.ONEL Lane A Heavy Stockholder 

Lannon A Contractor 

Bolton Browne's Valet 

Daintry Foreman at the Dam 

Eva Lou The ColoneVs Daughter 

Torrence Lannon* s Daughter 

Mrs. Lane-Turner Eva Lou's Aunt Jule 



Peace — A rizona. 



Time — The Present. 
SYNOPSIS. 



Act I. Browne's apartments in Colonel Lane's 
residence, nine o'clock in the evening. Going it blind. 
' Act II. Engineer s general offices at the dam, 
six weeks later. Keeping it up. 

Act III. The same, the following morning. Put- 
ting it over. 

Time of Playing — Two and one-quarter hours. 
5 



6 PUTTING IT OVER 

COSTUMES AND CHARACTERISTICS. 

Tom Browne — A young man with a nervous, hys- 
terical temperament. He is a morphine addict. 
Wears dinner clothes, derby hat, wet rain coat, 
carries wet umbrella. 

Jack Stewart — This is a double role with 
Browne, the same actor playing both parts. The 
make-ups should be identical, but the costumes and 
mannerisms are entirely different. Stewart's man- 
ner is cool and collected, in strong contrast to 
Brow^ne's hysteria. At Stew^art's first entrance 
he wears a shabby genteel suit and hat, with no collar 
or tie. His face is hidden by a handkerchief which 
he has improvised as a mask. His clothing is wet. 
Changes to long bathrobe and bedroom slippers, with 
bare ankles. Act II, khaki coat and breeches, linen 
shirt with soft collar, black tie, leggings, soft felt 
hat. Act III, neat business suit. 

Colonel Lane — Chairman of the board of di- 
rectors of the Yuba Irrigation Co. Elderly, well- 
groomed, up-to-date business suit for each act. 
Changes to pajamas in Act I. White hair, white, 
close-cropped mustache, eye-glasses. Has a distin- 
guished manner and a crisp, commanding manner of 
speech. Appears worried and depressed throughout 
Act I; later he brightens up. 

Lannon — Considerably past fifty ; has a some- 
what pugnacious manner and a strong sense of hu- 
mor; a grafter, but a good sport. Usual business 
clothes for each act, not so well groomed as Lane. 
Act I, wet motor coat, cap, goggles. 

Bolton — About forty-five years old. Wears a 
dark serge suit and black bow tie throughout the 



PUTTING IT OVER 



play. His speech and manner are quiet and subdued 
in the first act; later he becomes self-assertive. 
Should be able to do the telegraphing required in 
Act III. 

Daintry — A sub-engineer on Browne's staff. An 
Englishman, rather beefy in appearance, with an ag- 
gressive, bullying manner. Wears a checked suit 
under wet raincoat, and wet derby hat, in Act I. 
Thereafter he wears khald. 

Eva Lou — (Her name is pronounced with a short 
"e" as in "never.") About twenty-two years old; 
pretty and vivacious ; should be played preferably by 
a ecirl who is somewhat shorter than Stewart. Act 
I, bright colored evening dress; changes to negligee. 
Act II, sports outfit or any informal summer dress 
and hat, long gloves. Act III, handsome but not 
elaborate sports outfit, such as a light colored silk 
sweater, white skirt and hat; carries bouquet. She 
should be able to do the telegraphing required in 
Act III. 

ToRRENCE — A young woman in the early twenties ; 
impulsive and fast speaking; full of "pep." Act I, 
motor coat over evening gown. Act II, flashy travel- 
ling suit, bright colored hat, beads and jewelry, long 
kid gloves. Act III, sports outfit, less subdued than 
Eva Lou's. 

Mrs. Lane-Turner — About the same age as her 
brother, Colonel Lane. Rather overbearing in man- 
ner and stilted in speech, but this is only superficial, 
for she has plenty of good common sense. Gray hair ; 
wears eye-glasses. Act I, handsome dinner gown ; 
changes to negligee and boudoir cap. Act II, sum- 
mer costume. Act HI, elaborate summer costume. 



PUTTING IT OVER 



The Burglar — This character has no lines to 
speak, and is introduced so that there will be no 
stage wait while the actor who is playing Browne 
changes to the Stewart costume. As this burglar 
is supposed to be Stewart, it is essential that he be 
of the same height and general build as the actor 
who plays Browne and Stewart. It is also neces- 
ary that he keep his face hidden by the handkerchief 
while on the stage. He wears a suit, hat and mask 
identical in appearance with those worn by Stewart 
later. Use electric flash lamp. 

PERSONAL PROPERTIES. 

Browne and Stewart^ — Suits, shirts and collars 
to pack. Flash lamp, safety razor. Bucket of sand 
and small trowel. 

Lane — Watch. 

Lannon — Paper for signature. Check. 

Bolton- — Tray with napkins and silver, soup in 
tureen, ladle, teapot, other foods and dishes. Old 
clothes, hat and shoes. Expense statement. 

Daintry — Lighted cigar. Papers. 

Eva Lou — Hatpin. Bouquet of roses. 

TORRENCE Gloves. 

Off Stage Effects — Electric house bell. Auto 
horn. Telephone bell. Rain. Crash. Factory bell. 
Phonograph with military band record. 

For stage props, see description of settings. 

NOTES ON STAGING. 

The descriptions of stage settings, costumes and 
stage business of the characters as here set forth are 
in accordance with the professional production of 
"Putting It Over." Where scenic facilities are lim- 



PUTTING IT OVER 



ited, the details of the settings may be altered as re- 
quired. 

It should be borne in mind that the room where 
Act I occurs has no windows, and is supposed to have 
a skylight only for daylight illumination. The ac- 
tual showing of the skylight in the ceiling is not es- 
sential, but there must be no windows, otherwise 
Stewart would be able to escape. 

A rainstorm effect for use in Act I, whenever the 
outside door (right) is open, is desirable, but not 
absolutely necessary. The average theatre has the 
necessary apparatus. All persons entering from this 
door should have wet overcoats and hats or umbrel- 
las, to indicate that they have come in out of the 
storm. 

The factory gong in Act I should be located as 
far away from the wings as possible, or muffled in 
some way, to give the effect of distance. A deep- 
toned whistle may be used instead, if more con- 
venient. 

The telegraph code is so widely known that it is 
unwise to "fake" the sending in Act III. Bolton 
and Eva Lou should learn from some telegraph op- 
erator the business required. As neither is supposed 
to be an expert, the sending can be amateurish, so no 
great amount of practice is demanded ; but the send- 
ing should be intelligible. 



10 



PUTTING IT OVER 



SCENE PLOT. 



Act I. 



Chamber Backing 



/ Alcove \ / 
L'nrrH Curtains I i L r 



Hall Backing 



Back'g 




Light 
Switch 



\ h 



Pi I n Chair 

CO/ / I i DChair 

Q Desk with Lamp 



Right/Grip 



Chai r □ Phone 

Table I I Fire- 

L 1 place 




^. Backing 




Acts II and III. 

Mountain Landscape Drop. 



I I- 



H^t Chair □ 

Rack "-^ 



;/,,/" Table [HI] n Chair 



Chair Q 




Yuba 
Irrigation Co. \t. 



STAGE DIRECTIONS. 

Up stage niesins away from footlights ; down stage, 
near footlights. In the use of right and left, the 
actor is supposed to be facing the audience. 



PUTTING IT OVER 



The First Act. 

Scene : Tom Browne's apartvients in Colonel 
Lane's residence. The room is done in handsomely 
finished woodwork and paneling. There is a door left 
of center which leads into the hall. A curtained arch- 
ival^ in the rear wall at the right, opens to a sleeping 
alcove, and when the curtains are parted a glimpse 
of bedroom furniture is afforded. A door up left 
leads into the bathroom, and a door in the center of 
the right wall affords direct entrance to the room 
from the street. As there is a skylight only for day- 
light illumination, there are no windows. 

Against the rear wall, between the hall door and 
the bathroom door, is a buffet with cups, decanter and 
glasses. An umbrella urn and a hall tree are in the 
upper right corner. There is a fireplace, with mantel 
over it, in the left zvall, down from the bathroom 
door. A small table, with a light chair back of it, is 
down left, not far from the fireplace. Down right is 
a large fiat-top mahogany desk, with a swivel chair 
back of it and a heavy leather-padded chair at the 
left of the desk. 

On the rear wall is a large framed blue-print, sup- 
posed to represent the construction of a large dam. 
On the mantel, among the other decorations, is a 
framed photograph of Browne. An electric push but- 
ton is located over the mantel. On the left wall, be- 
tween bathroom door and mantel, is a telephone. A 
small grip or travelling bag is on the floor at the 
right of the desk. On the desk are a typewriter, two 

11 



12 PUTTING IT OVER 

hooks and a framed photography beside the usual 
desk fittings and writing material. Cigarette box on 
mantel. Table spread in buffet drawer. Umbrella 
in urn. 

The room is lighted either by a chandelier or by 
wall fixtures, operated by an electric switch beside 
the hall door in the rear wall. On the desk is a strong 
reading lamp with a red globe, on an independent 
circuit so that it remains burning rvhen the other 
lights are extinguished. There is a red glow in the 
fireplace. If a clock is visible, it shoidd point to the 
hour of nine. A rain-effect should be located off stage 
at the right to be operated each time the right door 
is opened. Crash box off stage near sleeping alcove. 
Distant factory gong off stage; auto horn off right. 

When the curtain rises, the room is illuminated 
only by the desk lamp and the glow of the fireplace. 
An electric bell rings off stage, at the back, and 
Bolton enters from the hall. He crosses to the right, 
opens the outside door and admits Lannon. Lannon 
wears, over an everyday business suit, a motor coat 
and cap, with goggles attached to the cap. 

Bolton. 
Mr. Lannon, come right in, sir. 

Lannon. 
Is Mr. Browne at home, Bolton.'^ 

Bolton. 

No, sir. -r 

Lannon. 

I hardly thought that he would be. This is the 

last place anyone would expect to find him at night. 

Bolton. 
Let me take your coat, sir. 



PUTTING IT OVER 13 

Lannon. 

{Easily.) 
Never mind. Car is outside. If you don't object, 
though, I'll sit here {indicating the desk) a few 
minutes. Devilish nasty weather, Bolton. 

Bolton. 

Yes, sir. - 

L(ANNON. 

My girl, Torrence, is in the front part of the 

house paying Miss Lane a farewell visit, so I thought 

I'd come in here and wait. {Sits at the left of the 

desk. ) ^ 

^ Bolton. 

Is Miss Lannon going away.? 

Lannon. 

Yes, she's going away for my health ; Paris ; a 
couple of months. Says she needs a short change, 
and I don't know of any place she can get short- 
changed quicker than in Paris. {Looks at Bolton.) 

Bolton. 

Yes, sir. ^ 

Lannon. 

I don't suppose you ever smiled in your life, did 
you, Bolton.? Bolton. 

( Gravely. ) 

As a boy, sir, I was said to have a very sunny 
disposition. {Crosses to mantel.) 

Lannon. 

You certainly outgrew it, Bolton. 

Bolton. 
Yes, sir. {Takes cigarette box from mantel.) 

Lannon. 
Woman is a mighty funny proposition, Bolton. 



14 PUTTING IT OVER 

Bolton. 
So I have been told, sir. (Offers cigarettes.) 

Lannon. 
Do I look like a man who would have a cigarette.? 

Bolton. 
No, sir; can't say as you do, sir. Whiskey, sir.'' 
(Waves his hand toward sideboard.) 

Lannon. 
No, I never had that particular vice. When I was 
young I was too poor, so I waited until I could afford 
it. And when I made my pile I discovered that a man 
was never rich enough to afford whiskey. 

(The sound of a latch key is heard in the outside 
door. Bolton quickly crosses to right. As he does 
so — ) 

The door is opened by Browne. He xpears a rain- 
coat over his dinner jacket, and he carries an um- 
brella. ^ 

Browne. 

Whose machine is that? 

Lannon. 
(Turning his head, but not rising.) 
Hello, Browne. Browne. 

(Suddenly.) 
'Lo, Lannon. 

(Bolton takes his hat and umbrella, puts the 
former on the rack and the latter in the urn, then 
helps Browne remove his raincoat. Browne's face 
shozvs that his nerves are at high tension. He never 
removes his eyes from Lannon. When his coat is 
off he crosses left quickly until he is left of the center 
door- He stands looking at Lannon, evidently wait- 



PUTTING IT OVER 15 



ing for Bolton to leave the room before he speaks. 
Bolton, after taking the raincoat and hanging it 
up, starts to roll the umbrella.) 

Browne. 
{Suddenly observing Bolton.) 
Never mind that, Bolton. Good Lord ! You fuss 
around like an old hen. Are you trying to drive me 
crazy.? Get out! 

(Bolton places the umbrella in the urn, bows, and 
exits center door. Browne follows Bolton with his 
eyes until the door is closed. Then he comes swiftly 
down to Lannon.) 

Browne. 

{Tensely.) 

I'm on to you. -^ 

^ Lannon. 

{Looking up.) 

What's that? 

Browne. 

I'm on to you and your graft. 

Lannon. 
What particular graft do you mean.^ 

Browne. 

The cement. ^ 

Lannon. 

{Calmly.) 

Browne. 
I've got you dead to rights. Our contracts specify 
three X finest grade Portland cement, and you've 
been shipping some rotten mixture — mostly sand. 
It isn't even a high grade of sand. It has about as 
much strength as buttermilk. 



16 PUTTING IT OVER 

Lannon. 
You've been using it. I've got your O. K. for 
every carload I've shipped. 

Browne. 
I didn't know. Daintry examined the consign- 
ments and brought me the slips to O. K. But don't 
think you are going to get away with it! Can you 
realize what it means? The dam is just two sixty- 
foot walls, filled in between with rotten cement — prac- 
tically mud. When they open the sluice gates and 
that head of water strikes, it will melt away like so 
much sugar, and two years of work and a million- 
dollar investment will be swept into Yuba Valley! 

Lannon. 

Well, what are you going to do about it.? 

Browne. 

(Sarcastically^.) 

Oh, I'm going to keep quiet and let you go ahead 

with your graft, and when the crash comes I'll be the 

ffoat — n o t ! t 

^ Lannon. 

Why would you be the goat ? 

Browne. 
Because I'm the chief engineer of the Yuba Irriga- 
tion Co. ; because I drew the plans for the dam, made 
the survey, and supervised the construction. 

Lannon. 

(Insinuatingly.) 

Oh, did you.? ^ 

-^ Browne. 

(^Suspiciously.) 

What do you mean, "did I"? 



PUTTING IT OVER 17 

Lannon. 

NothiniJ:. Ti 

^ Browne. 

Just as I was making a reputation as an engineer, 

a couple of crooks put a crimp — 

Lannon. 

Cut out the rough stuff. 

Browne. 
{Sulkily.) 
Well? 

LiANNON. 

What are you going to do about it ? 

Browne. 
{Excitedly.) 
I'm going to ring that bell, call Colonel Lane — 
he's just up-stairs — and expose you and Daintry. 
I've got a hunch he's in it, too. I'm going to show 
Lane what kind of a run he and the other stockhold- 
ers are getting for their money! {Goes left to hell.) 

Lannon. 
( Emphatically. ) 
Don't ring that bell. (Browne hesitates.) You 
had better not ring that bell. {Rising.) 

Browne. 
{Turning.) 
Why hadn't I better ring that bell ? 

Lannon. 
Sit down and I'll tell you. {Sits at right of table. 
Browne hesitates and then sits at left of table.) 
Browne, it's about time that you found out just where 
you stand. I've been intending to set you right for 
some little while, but as it didn't make much differ- 
ence one way or the other I let it pass. You forced 



18 PUTTING IT OVER 

my liand. A moment ago you said you made the 
drawings for this dam. Now, how about that? 

Browne. 
(Half rising.) 
What do you mean.?' 

Lannon. 
I mean just what you think I mean. I mean you 
stole those plans. Browne. 
(Angered.) 
You — What are you saying.^ (Stands.) 

Lannon. 
Sit down. (Browne sits.) Don't make me waste 
time proving what you know is true. I can give you 
day and date when you took the blue prints out of 
the other fellow's carton, and slipped them into you ■ 
own as they lay on the committee table. 

Browne. 
(Frightened.) 
You won't tell anyone, Lannon.? You're a good 
fellow, Lannon. You won't say anything about it? 

Lannon. 
Why, of course not. Why should I? 

Browne. 
I had to make good. My folks — My mother — 
They all thought I was such a corking good engi- 
neer — and I knew my own drawings were rotten. 

Lannon. 

(Drili^.) 
They were. I've got one of them now, and you 
can't tell whether it's the front elevation of a dam or 
a cross-section of a dog-house. 



PUTTING IT' OVER 19 

Browne. 
I know. I know thej were bad. I was up against 
it. And that day I couldn't resist the temptation. I 
meant to give the other fellow all the money I got 
out of it. All I wanted to do was to make good. 

Lannon. 
But you never did give him any money, did you.f' 

Browne. 
(WeaklT/.) 
Not yet — but I will. 

Lannon. 

That was two years ago. I bet you never wrote 

him. You don't remember the name on the tag? 

(After a pause.) I thought so. Well, I do. It was 

J. J. Stewart, and he was a graduate of Michigan 

Polytechnic. ^ 

*^ Browne. 

He never knew about — 

Lannon. 

No. He'll never bother you, either. He was 

down and out — in the hospital — the last I heard of 

him. ^ 

Browne. 

I'm not well, myself. I'm a sick man. 

Lannon. 

No, you're not sick. It's the effects of the dope 

wearinfic off. „ 

^ Browne. 

Dope ? -r 

Lannon. 

Morphine. _. 

Browne. 

(Hotlt,.) _ . ^ 

If you say I take morphine, you're a liar. 



20 PUTTING IT OVER 

Lannon. 

What? (Grabs Browne's right wrist, forces it on 

the table and shoves back his cuff.) Are those marks 

the scars of a hypodermic needle, or is it a sporadic 

case of measles? ^ 

Browne. 

(Faltering.) 
I have to take morphine sometimes — doctor's or- 
ders — weak heart. ^ 

JLannon. 

(Rising and buttoning his coat.) 
Oh, well, let it go at that. (Goes up to Browne.) 
You see, young man, when you call me hard names 
it's in line with the historic occasion when the pot 
made derogatory remarks about the kettle. 

(There is a knock at the center door.) 

Browne. 
(Going up center,) 
It's Lane. I can't see him now, I'm all shot to 
pieces. 

(The knock is repeated. Lannon takes Browne 
bt/ the shoulder and shoves him into the bedroom up 
right, then opens the center door.) 

Lane enters, center, from the hall. 

Lane. 

Ah, Lannon. ^ 

Lannon. 

How do you do, colonel. Just back from New 

York? -r 

Lane. 

Yes, I want to see Browne. 

Lannon. 
Mr. Browne is not — 



PUTTING IT OVER 21 

Lane. 

{Interrupting in surprise.) 

But Bolton said — 

Lannon. 

— Presentable. He's taking a bath.' {Points to 

the bathroom.) 

^ Lane. 

I particularly want to see him. I'll come in 

as^ain. ^ 

Lannon. 

I'm waiting here till Torrence — 

Lane. 
( In terrupting. ) 
Oh, she's upstairs chatting with Eva Lou, I be- 
lieve. ^ 

Lannon. 

How is the Irrigation Company coming along, 

colonel ? ^ 

Lane. 

Very bad; very bad. If we don't make some kind 
of a showing here pretty soon there will be no Irriga- 
tion Company. V^e have already spent $100,000 
above the original estimate on the operations here, 
and the dam doesn't appear to be any nearer com- 
pletion than it was six months ago. 

Lannon. 

If it's money, colonel — 

Lane. 
{Interrupting.) 
No, no, Lannon. I'm deeply in your debt now. 
Besides, the more money we spend, the more the work 
seems to be retarded. Our only hope is that Browne 
will wake up and start things moving. 
Lannon. 
I'm sorry, colonel. 



22 PUTTING IT OVER 

Lane. 
I'm sorrj, too. It spells ruin for me if this thing 
falls through. Tell Browne I must see him to-night. 
Good night, Lannon. {He goes out into the hall, 
closing the center door behind him.) 

Lannon. 
Good night, colonel. {Stands looking after 
Lane.) 

Browne comes from bedroom and looks at Lan- 
non. „ 

Browne. 

You don't like the colonel very well, do you.^ 

Lannon. 
No, I don't, Browne. 

Browne. 

Is that the reason you're putting a crimp in the 

irrip-ation scheme? ^ 

^ Lannon. 

One reason. I have another. 

Browne. 

Miss Lane. 

Lannon. 

We won't discuss Miss Lane. But since you have 

broached that subject, you will have to excuse me for 

touching on a little flirtation between you and my 

daughter. (Browne crosses to left.) As long as it 

simply amused Torry I didn't mind, but now that 

you two are talking matrimony I'm going to call a 

halt. The man she marries is not going to be a 

crook. T^ 

Browne. 

{Sarcastically .) 

That sounds good, coming from you. 



PUTTING IT OVER 23 

Lannon. 
No matter how it sounds, it goes; see? (Lannon 
looks steadily at Browne, who tries to look at him 
in return but finally drops his eyes.) 

Browne. 
(Sullenly.) 
I guess we have something to say about that, if — 

Lannon. 
(Intensely.) 
I said it has got to stop. (Walls up to Browne.) 

Browne. 

(Surlily.) 
All right. (Lannon crosses to hall door.) You 
better be careful about that cement. Don't work it 
too raw. Someone else will find out about it. 

Lannon. 
Don't worry, bud. If you hadn't discovered it to- 
day you never would have known. Every car com- 
ing in now is strictly up to specifications. (Goes out 
hall door.) 

(Browne goes to drawer at desk and looks inside,) 

Bolton opens center door. 

Bolton. 
Will you have supper served in your room, sir.'' 

Browne. 

Yes. (As Bolton is about to go out at center.) 

Bolton. _, 

Bolton. 

Yes, sir. _^ 

Browne. 

Did you take a hypo needle and a vial of morphine 

out of this drawer? 



24 PUTTING IT OVER 

Bolton. 
{Stammering.) 

Browne. 
What did jou do with it? 

Bolton. 

I hid it, sir. _. 

Browne. 

Why? (Crosses to Bolton.) 

Bolton. 
I thought perhaps — you might forget about it, 
sir — if it wasn't always near you. 

Browne. 

(Sneering.) 

Thought I might quit using it, to please you? 

Bolton. 
No, sir. I thought — 

Browne. 

Get it. 

Bolton. 

Yes, sir. But won't you please try and give up 

the habit? It's killing you. 

Browne. 

Get it. -r, 

B0J.TON. 

Yes, sir. But if you only — 

Browne. 
(Strikes Bolton, who falls near the center door.) 
Now will you do what I tell you? 

(Browne crosses to right. There is a knock at 
the hall door. Bolton rises quickly and opens the 
door. ) 

ToRRENCE enters. 



PUTTING IT OVER 25 

Bolton. 

Miss Lannon, sir. 

TORRENCE. 

Where is my father, Bolton.? 

Bolton. 
He is waiting in the car, miss. (He goes out 
through the hall, closing the door.) 

TORRENCE. 

(Quickly.) 

We've just about three minutes to talk, so you'd 

better let me do all the talking. First of all, we're 

droinff to elope. _, 

^ ^ ^ Browne. 

Elope? ^ 

lORRENCE. 

Yes. Dad is sending me away to Paris for a 
couple of months. He thinks I'll forget all about 
you in that time. Maybe I will, so if you want to 
marry me, now's your chance. 

Browne. 
What about my job? 

ToRRENCE. 

You can get another job as good as this, but 
you'll never get another wife as good as I'd be. 

Browne. 

ToRRENCE. 

Hush. You can take the ten o'clock accommoda- 
tion to-night. I leave on the express in the morning. 

Browne. 
Oh. We elope in sections? 

ToRRENCE. 

Yes. 



26 PUTTING IT OVER 

Browne. 
That train leaves in twenty minutes. {Looks at 
his watch.) I can never make it. 

TORRENCE. 

Not if you stand there talking. Where's your 
grip? I'll help you pack. 

Browne. 
{Points to right.) 
There it is. ^ 

1 ORRENCE. 

{Getting grip.) 
Now, get a few things together — all your valu^ 
ables — and I'll do the packing. (Browne goes into 
the bedroom. Torrence unstraps the grip and puts 
it on the desk. An auto horn is heard off right.) 
Hurry ! Hurry ! Father's getting impatient. 
(Browne enters with suits, shirts, collars, etc.) 
Give me those things. {Starts to pack.) Now, listen. 
Go as far as Kansas City. Stay at the Maverick 
Hotel, and at ten in the morning be there with a 
minister and a marriage license. I'll do the rest. 

Browne. 
Your father.? He's pretty foxy. 

Torrence. 
Yes, I know. He started out in life with nothing 
at all. Now he's got oodles of money and a lovely 
daughter. He had to be foxy. But he's not the 
only clever one in the family. Now, get your rings 
and chain and all your nice toilet articles. (Browne 
goes into the bedroom.) You've forgotten your 
pajamas. {The auto horn is sounded again.) Oh, 
gee! There's pa again. Hurry! 

Browne enters from the bedroom. 



PUTTING IT OVER 27 

Browne. 
Say, Torrence, I'm in a bunch of trouble here. 

TORRENCE. 

Hush, boy. You don't know what trouble means. 
Wait until we're married. Wait until we're married! 
{Having put Browne's things in the grip, she closes 
it.) There you are. {Hands it to him.) Now, 
don't miss the train. Kiss me. {They kiss. The 
auto horn is heard again.) Say, I'll bet he's mad. 
{Crosses to hall door at center.) If he's awful mad 
I'll blow the horn to let you know. If he's swearing 
I'll blow it twice. Good night. {Opens the hall 
door, goes out and closes it.) 

(Browne turns the electric switch at the door, ex- 
tinguishing all the lights except the desk lamp. He 
sits at the desk and writes. After a moment the out- 
side door at the right opens cautiously, and — ) 

A Burglar appears. He is dressed roughly, and 
has a red handkerchief tied across the lower part of 
his face. His hat is pulled doivn over his eyes, and 
he carries an electric flash lamp. This is supposed 
to he Stewart, so the face must he well concealed. 
Browne does not detect his presence. The auto horn 
toots several times. Browne makes a slight move- 
7nent at the desk. The Burgear jumps hehind the 
hedroom curtain. Browne gets up, puts on his coat 
and hat, takes his grip and goes outside, through 
the right door. {This performer now changes cos- 
tume for his next appearance as Stewart.) The 
Bltrgear comes out of the alcove, and then hastens 
into the hathroom as — 



28 PUTTING IT OVER 

The center door opens and Aunt Jule and Bol- 
ton enter from the hall. Aunt Jul,e is dressed in a 
dinner gown, and wears eye-glasses. 

Aunt Jule. 
There is a burglar in this house, and nothing 
you can say will convince me to the contrary. 

Bolton. 

But Mrs. Lane-Turner, Mr. Browne and I have 

been in this roojn almost continuously for the past 

two hours. 

Aunt Jule. 

Where is Mr. Browne now.^^ 

Bolton. 
He has probably gone out for a breath of air. I 
see his hat and raincoat are not on the rack. 

Aunt Jule. 
He must like his air damp. It's pouring rain. 

Bolton. 
You see, madam, there is no burglar here. 

Aunt Jule. 
I insist on your searching everywhere. Look in 
that room. {Points to the bedroom.) 

Bolton. 

{Goes to bedroom door.) 

If you insist. . _ 

Aunt Jule. 

Wait. Do you know the correct procedure upon 

seeinej a burglar.^ _, 

^ ^ Bolton. 

No, madam. . 

Aunt Jule. 

You look him calmly but firmly in the eye. It will 

subdue him at once — mind over matter. 



PUTTING IT OVER 29 

Bolton. 
But if he should have a pistol? 

Aunt Jule. 
Continue to look him firmly in the eye. 

Bolton. 
But if he should shoot me? 

Aunt Jule. 
I will notify the police at once. 

Bolton. 

But, madam — don't you think it would be well to 

notify them first? . ^ 

•^ Aunt Jule. 

Not at all. I feel quite capable of managing this 
myself. Now, go in. (Bolton goes into the bed- 
room, where there is a crash. Aunt Jule backs away 
left.) Look .him in the eye, Bolton. Look him in 
the eye. 

Bolton enters from bedroom. 

Bolton. 
No one here, madam. 

Aunt Jule. 
What was that noise? 

Bolton. 
I fell over a chair. Are you convinced, madam? 

Aunt Jule. 
We will search the rest of the house. (Points to 
the right.) Is that door locked? 

Bolton. 

No, madam. 

Aunt Jule. 

Then lock it. (Bolton locks the outside door.) 

Now lock 'that door, too. {Points to bathroom.) 



30 PUTTING IT OVER 

Bolton. 

That won't be necessary. (Crosses left, and then 

turns. ) ^ T 

Aunt Jule. 

Why not? 

JOOLTON. 

In the first place, there's no window in the bath- 
room. In the second place, there's nothing to steal 
in there. In the third place, there's no lock on the 
door in the first place. 

Aunt Jule. 
Follow me. (Exits into the hall. Boltgn turns 
off the lights and follows her, closing the door after 
them.) 

Stewart enters from the bathroom^, using the 
flash lamp. As he is supposed to he the burglar who 
entered the bathroom, he must walk and flash the 
lamp in the same manner. He has a safety razor in 
his left hand. He goes to the hall door and tries 
the handle. 

bTEWART. 

Locked. (Looks for switch, finds it and turns on 
the lights. Comes down center, takes off his hat 
and removes the handkerchief from his face. Goes 
to the desk and opens a drawer.) If there's any- 
thing to steal in this joint, I've overlooked it. The 
biggest haul up to date is a safety razor. (Sees the 
note that Browne wrote lying on the desk, and picks 
it up.) It's addressed to Bolton. (Reads.) "Things 
are looking kind of bad for me." Same here, old 
sport. (Reads.) "So I have left the country." 
That's about all he did leave. (Looks at note.) 
Didn't sign his name. I guess he's ashamed of it. 
I hate to go out in the rain again, but if I stay 
here I'll get pinched, sure. (Goes to outside door at 



PUTTING IT OVER 31 

right.) Locked. {Hurries to bedroom and looks 
in.) No windows. How do they light this place.? 
(Looks up.) Skylight. Well, I'm here to stay. My 
first burglar job will be my last. (Sits in big chair 
at left of desk.) I'm as big a failure at this as I am 
at everything else. (Dejectedly.) I wonder how 
long they'll give me. Ten years, I suppose — ten 
years for stealing a razor. And I can't even cut 
my throat; it's a safety. (Sighs; looks at razor.) 
By George, if I have to go to jail, I'll go looking 
decent. (Rises.) I'll take a shave and a hot bath 
while I'm waiting for the patrol wagon. (Crosses 
to bathroom door.) I'll take a shave to-night. 
They'll probably give me a haircut in the morning. 
(Goes into bathroom, closing the door.) 

Bolton enters from the hall with a tray contain- 
ing supper, which he places on the sideboard. He 
listens at the bathroom door. Then he takes a cloth 
from the sideboard drawer, spreads it on the table 
down left, and returns to the sideboard. 

Lane enters from the hall through the center 
door, which Bolton has left open. 

Lane. 

Where is Mr. Browne, Bolton .^^ 

Bolton. 
Taking a bath, sir. 

Lane. 

(Testily.) 
What.? Again.? Is he taking baths on a bet.? 
Every time I come here he's in the tub. Must be 
precious particular about his personal cleanliness. 
Too bad he isn't as careful about his morals. Well, 
I can't wait all night for him. (Goes to hall door.) 



32 PUTTING IT OVER 

If you catch him between baths, tell him I'm back 
from New York. And tell him the directors will 
give him ten weeks — no more — to finish up the work 
on the dam. Don't forget; ten weeks. (Goes into 
the hall, slamming the door behind him.) 

(Bolton arranges the dishes, goes to the side- 
board, pours some liquor into a glass, places the 
glass on the tray, knocks gently on the bathroom 
door and, after a pause, knocks loudly.) 

Stewart. 
{In the bathroom.) 
All right; don't shoot. I'll come out. 

Stewart opens the bathroom door and Bolton 
presents the tray to him. Stewart has on a bright- 
colored bathrobe that reaches nearly to his ankles, 
and bedroom slippers, but his ankles are bare. He 
looks in surprise at Bolton, then at the tray, then 
again at Bolton. Finally he takes the glass, drinks 
the contents and replaces the glass on the tray. 

Bolton. 

{Replacing the tray on the sideboard.) 
Supper is served, sir. 

Stewart. 
{Dumbfounded.) 
Huh.? 

(Stewart looks at the table, then at Bolton, 
then goes slowly down to the table, occasionally look- 
ing over his shoulder at Bolton, who follows him 
and places the chair back of the table. Stewart 
sits facing the audience. Bolton unfolds a napkin, 
which Stewart places upon his knee. Bolton ladles 
soup from the tureen into the plate.) 



PUTTING IT OVER 33 

Bolton. 

Noodle soup, sir. 

Stewart. 

(Not addressing Bolton.) 

This is only a dream, and I'll wake up before I 

taste that soup. (Takes spoonful of soup, and 

smiles.) No; it's no dream. (Eats soup, and then 

looks over his shoulder for Bolton.) You make me 

nervous, standing there. Come around where I can 

see you. (Bolton comes down left.) Say, who 

are you, anyway? ^ 

-^ -^ -^ Bolton. 

(Gasps.) 

Why, I — I am Bolton, sir. 

Stewart. 

Ah, yes ; Bolton. _, 

Bolton. 

Pardon me, sir, but do you need — need the needle? 

Stewart. 
What's that you say? 

Bolton. 
I say, do you need the needle? 

Stewart. 

You mean, do I need the noodle. (Indicating the 

soup.) 

Bolton. 

No, sir. Begging your pardon, sir, I mean do 

you need the needle? 

Stewart. 
(Looking at him suspiciously.) 
No, Bolton, I do not need the needle. I may feed 
de feedle, or I may even deed de deedle, but I do not 
need the needle. 



34 PUTTING IT OVER 

Bolton. 
I am glad of that, sir. 

Stewart. 
I'm very glad you're glad. Now, after this short 
but pleasing conversation, we will return to our 
soup. (Eats.) ^ 

JtJOLTON. 

Yes, sir. (Goes back behind the chair.) 

Stewart. 
(Ruminating, looks right, leaning back in chair.) 
I wonder what this fellow's game is. (Boeton re- 
moves soup plate and tureen to sideboard. Stewart 
does not notice this.) He has probably telephoned 
the police and is waiting their arrival. He knows 
I wouldn't run away without my trousers. (Sighs.) 
Well, I might as well finish the soup. (Is about to 
eat, and sees the plate is gone. Takes up the tea- 
pot and looks around for a cup.) 

Bolton. 

(Bringing a cup from the sideboard.) 

Here's a cup, sir. 

Stewart. 

(Half rising, startled.) 

What's that? ^ 

Bolton. 

A cup, sir. „ 

^ Stewart. 

(Sinking back in chair.) 

Heavens ! I thought you said "cop." 

Bolton. 
(Pouring tea.) 
Beg pardon; Colonel Lane was here while you 
were taking a bath. 



PUTTING IT OVER 35 

Stewart. 

He was? -r» 

Bolton. 

Yes, sir. He told me to tell you that he had just 
returned from New York. He had seen the direc- 
tors, sir, and he was very sorry to say that they 
would give you only ten weeks to finish the dam 
contract. ^^ 

STEWART. 

Tell him not to worry. They'll give me ten years 

for starting this dam contract. (Starts to eat. 

Suddenly he sees the picture of Browne on the 

wall.) Look! 

Bolton. 

Sir.? ^ 

Stewart. 

That photograph, Bolton! {Goes to the picture.) 

Bolton. 

What of it, sir? ^ 

Stewart. 

Who is that man? 

Bolton. 

Why, that is you, sir. 

Stewart. 
{Takes down the picture and examines it closely.) 
I could almost believe it. 

Bolton. 
It is said to be a remarkable likeness, sir. 

Stewart. 
It i s a remarkable likeness — a most remarkable 
likeness. {Aside.) That's the answer. Bolton mis- 
takes me for that man. {Taps photo. To Bolton, 
tapping the photo.) Let me see; when was this 
taken ? 



36 PUTTING IT OVER 

Bolton. 
Two years ago, sir; right after your drawings 
were accepted. ^ 

hXEWART. 

Do you think I have changed much? Take a 
ffood look at me. ^ 

JiOLTON. 

{Looks at Stewart and then at the photo.) 
Very little, sir. It is a good photograph. 

Stewart. 
Well, I'll be hanged! (Sinks in the chair by the 
desk. ) „ 

UOLTON. 

Hadn't you better lie down, sir.? You are not 
well. You don't look like yourself, sir. 

Stewart. 
Maybe not ; but I look almighty like somebody 

Bolton. 
If you could only stop the morphine, sir. 

Stewart. 

Morphine ? ^ 

Bolton. 

(Ancciously.) 
Yes, sir. It is spoiling your career, and it will 
eventually kill you. (Stewart is about to speak.) 
Under the influence of the drug, you become listless. 
You lose your energy. All your important work is 
left to your executives — and they are a pack of 
wastrels, especially Daintry. If you will not think 
of yourself, consider Col. Lane. That poor gentle- 
man's last dollar is in this irrigation project. Try 
to give up the habit. It only needs a little will 
power. Try. If you succeed, you will feel like 
another man. 



PUTTING IT OVER 37 



Stewart. 
I don't want to feel like another man, Bolton. It's 
bad enough to look like one. (Bolton sighs and 
goes up stage. Stewart looks up and sees Bolton 
as he is about to go out into the hall.) Bolton ! 

Bolton. 
( Turning. ) 

Stewart. 
As you remarked a little while ago, I'm not feel- 
ing well, and I think I will take a little walk. You 
haven't any objections, have you, Bolton.^ 

Bolton. 
I, sir.? Certainly not. I will lay out your clothes. 

Stewart. 
That's a good idea. Do. 

Bolton. 
(Going to the bedroom alcove.) 
Would you prefer the norfolk or the striped suit.? 

Stewart. 
The norfolk, by all means. (Bolton bows and 
exits into the bedroom.) In a few days I may be 
wearing striped clothes exclusively. But it will not 
be from preference. 

Stewart sits at the left of the desk. He picks 
up the photo and looks at it. After a short pause 
Bolton enters quickly from the bedroom. 

Bolton. 
{Excitedly.) 
Your clothes, sir! 

Stewart. 
Well.? 



38 PUTTING IT OVER 

Bolton. 

They're gone. ^ 

•^ ° Stewart. 

Gone ? T. 

IJOLTON. 

Your jewelry and toilet articles are stolen. 

Stewart. 

Stolen? _, 

Bolton. 

There has been a burglar here. 

Stewart. 
There has. He's here yet, 

Bolton. 

Sir.? ^ 

Stewart. 

You must be mistaken. 

Bolton. 
Beg pardon, sir; no sir. Look for yourself. 

(Bolton raises curtain and Stewart goes quicMy 

into bedroom.) 

Stewart. 

By George, your right. Have you searched the 

house.? -, 

Bolton. 

Not everywhere, sir. There's the bathroom. 

Stewart. 
Ah, yes. Let us examine the bathroom. 

Bolton. 
{Going left.) 
That is hardly necessary, sir. What could a bur- 
glar take in the bathroom? 

Stewart. 
A bath. 



PUTTING IT OVER 39 

Bolton. 
You are in a humorous mood to-night, sir. {Goes 
into the bathroom.) 

Stewart. 
{Aside.) 
Yes, but I won't feel so funny when he finds those 
clothes. {Goes down right. Bolton appears at the 
bathroom door, carrying a handful of clothes, hat 
and shoes. Stewart turns.) What have you there, 
Bolton.? 

BOETON. 

It's clothes, sir ; more properly, rags. 

Stewart. 
I noticed them lying on a chair when I was taking 
my bath. _, 

BOETON. 

The impudence of the fellow, sir ! He has actually 
put on one of your suits and escaped, leaving these 

* Stewart. 

The scoundrel! (Boeton searches pockets.) 
What are you doing? {Sharply.) . 

BoETON. 

There may be something in the pockets, sir. 

Stewart. 
{Sadly.) 
No, no, Bolton. If that young man had anything 
in the pockets he wouldn't have been a burglar. 

BoETON. 

{Examining hat.)- . 

No matter how careful they are, they always 

overlook something. See, here's his name in his hat, 

sir. {Eagerly.) "J. J. Stewart, Ann Arbor, Mich." 

We've got him, sir. I'll give these to the police, and 



40 PUTTING IT OVER 

my fine gentleman will spend the next few years be- 
hind the bars. ^ 

bXEWART. 

I suppose he will. But don't let us feel so joyous 
about it. ^ 

JJOLTON. 

I'll attend to it at once. {Quickly unlocks the 
right door and goes outside.) 

Stewart. 
Wait! {The door closes.) There go my pants. 
{Crosses to left of stage.) 

Lannon softly opens the hall door, enters, closes 
it, walks quickly and quietly up to Stewart and 
taps him on the shoulder. Stezvart starts. 

Stewart. 
Don't ever gumshoe up behind a man and tap him 
on the shoulder like that. He might have heart dis- 
ease. T 

Lannon. 

{Hurriedly.) 
I've been turning this matter over in my mind, and 
I think you'd better get away from here. 

Stewart. 

Yes, I've been thinking that, too. {Moves chair 

from behind table to right of table and sits, facing 

Lannon.) ^ 

Lannon. 

When the crash comes, I'm afraid you'll squeal. 

You never had much nerve, and there'll be courts of 

inquiry, sheriffs, cops, and even a short term in jail. 

And — ' o 

Stewart. 

Good heavens ! Can't you fellows talk about any- 
thing else but sheriffs and cops and jails .^^ Gad! 
You must have an unhealthy mind. 



PUTTING IT OVER 41 

Lannon. 

Well, I hope you don't expect me to help you out 

if you ffet in bad? ^ 

-^ ^ Stewart. 

No. After taking a good look at you, I don't. 

Lannon. 
Have you any money .^^ 

Stewart. 
Now, what's the use of starting another foolish 
conversation ? ^ 

L.ANNON. 

I thought so. Broke again. I'll bet you haven't 
got a cent in your pocket., 

Stewart. 
You win. I haven't even got a pocket. 

Lannon. 

Well I figured on that. Now, I'll give you five 

thousand. „ 

Stewart. 

Five thousand what.^^ 

Lannon. 
Five thousand dollars, of course. 

Stewart. 
Of course ; of course. Mister, the more I hear you 
talk the better I like you. You were saying, you 
give me five thousand dollars and — 

Lannon. 
You skip out and don't come back. I don't want 
to see you any more. 

Stewart. 
You give me the money and you won't see me — • 
or it — any more. 



42 PUTTING IT OVER 

Lannon. 
Before you go, telephone Daintry — he's at the 
Quadrant Club — and leave him in charge of every- 
thing here. He's a good man. He's one of us. 

Stewart. 
Daintry's one of us, is he? 

Lannon. 
Yes. He'll do whatever I say. He's got to. 

Stewart. 
All right. I'll phone him before I go. 

Lannon. 
Now, I got a paper for you to sign. A statement 
that all the materials and supplies are up to specifi- 
cations. That will let me out if there is any trou- 
ble. (Lays a paper on the desk. Stewart crosses 
right, sits at the desk, and takes a pen.) 

Stewart. 
What name shall I sign.^^ 

Lannon. 
(Crossing left, stops and looks in surprise.) 
Sign your own name, of course. 

Stewart. 
Of course, I never thought of that. (Aside.) 
What the deuce is my name? (After a pause, show- 
ing his mental struggle, he throws down the pen.) 
I can't sign that. (Rises.) 

Lannon. 
Eh.? Why not? Are you trying to crawfish? 

Stewart. 
No, no. Only — do me a favor, will you? Take 



PUTTING IT OVER 43 

a run around the block. Come back in about five 
minutes. Then I'll sign. 

Lannon. 

Well — (Crosses to desk at right and picks up 
paper.) Five minutes; no longer. (Crosses to out- 
side door and puts on his hat.) And remember — no 
shenanigan. You know me. (Opens outside door, 
goes out and closes it.) 

Stewart. 

I do not. I wonder who that guy is. Five thou- 
sand dollars for a word, and I can't guess it. His 
name must be around here somewhere. (Excitedly 
grabs up hooks on desk and table. Opens one and 
reads the fly leaf.) "To my dear nephew from his 
dear aunt." (Throws down book, picks up anoth- 
er.) "To my dear brother." (Throws it down and 
picks up a photo of girl; reads) "From Peaches to 
Ducky." (Disgusted.) "Peaches !" "Ducky !" Good 
Lord! (Pushes electric button on left wall and 
stands left, thinking,) 

After a pause, Bolton enters from the hall, 

Bolton. 
Did you ring, sir.-^ 

Stewart. 
Yes. Have I any visiting cards .f* 

Bolton. 
(Closing the door.) 
Yes, sir; in your card case, sir. 

Stewart. 
Where is my card case.^ 

Bolton. 
In your room, sir. Shall I get it.f* 



44 PUTTING IT OVER 

Stewart. 
Yes. (Bolton goes into the bedroom. Stewart 
shows exultation. He taps his head.) Some idea, 
that. 

Bolton enters from the bedroom. 

Bolton. 
It's sone, sir. „ 

° STEWART. 

Goiie.^ T> 

Bolton. 

Burglar must haA^e taken it, sir. (Stewart 

groans. Bolton is about to go out through the 

center door.) „ 

^ Stewart. 

" Just, a moment. I'll have to have some more cards 

printed. Attend to it. 

Bolton. 

Yes, sir. ^ 

Stewart. 

If I remember rightly, my name was spelled wrong 

on the last batch. „ 

Bolton. 

Pardon me, sir, but I think not, sir. I was very 

particular with the copy, sir. 

Stewart. 
How was it spelled? 

Bolton. 
It was spelled with an "e," sir. 

Stewart. 
Spelled with an "e." {Turns away in disgust. 
Bolton exits into the hall, closing the center door af- 
ter him. Stewart sees an umbrella in the right corner, 
takes it up and examines it.) Maybe he has his name 
engraved on the handle Yes, here it is. (Reads.) 
"Pat— Pat— Patented July 12, 1906." (Stands at 



PUTTING IT OVER 45 

center, facing the audience, thinking. Rubs his right 
leg with his left foot, displaying his hare ankle. Eva 
Lou knocks at the center door.) Here's where I lose 
$5,000. (Eva Lou knocks again.) Oh, come in. 

Eva Lou enters from the hall. She is in an even- 
ing dress of some bright color in strong contrast 
with the woodwork of the door. Stewart stands 
with his back to the door for a couple of seconds. 
Then he turns his head and sees Eva Lou. He opens 
the umbrella, trying to hide his hare ankles. 

Stewart. 
Hey! Don't come in here. Get out. {Crouches 
down endeavoring to hide his ankles with his bath- 
robe, and tries to wave her away.) 

Eva Lou. 
(Stands with her hack against the door, her hand 
on the knob; in surprise.) 
Why, Mr. Browne! 

Stewart. 

(Excitedly.) 

Browne! Browne; that's it! (Goes down center 

in front of the desk and ivrites on a card.) 

"B-r-o-w-n-e." Spell it with an "e." Now, if I 

could only get the first name — or even an initial. 

(To Eva Lou who is about to go.) Hey! Don't go. 

Come ba-ck. ^ 

Eva Lou. 

( Turning. ) 

Really, Mr. Browne, this is outrageous. 

Stewart. 
I know; I know. You'll have to excuse me. I'm 
not myself to-night. 



46 PUTTING IT OVER 

Eva Lou. 
Meaningless phrases will not excuse your insolence, 
sir. You must explain. 

Stewart. 
I was startled. The conventions, you know. Young 
lady; bachelor apartment; late at night. 

Eva Lou. 

If you think your sense of propriety will not stand 

the strain, I can easily call my aunt. She is just 

across the hall. ^ 

Stewart. 

No, no. (Smiling.) If the worst domes to the 

worst, I can scream for help. 

Eva Lou. 
(Half smiling,) 
You certainly are shy, aren't you.? 

Stewart. 
Sure, I'm shy. I'm shy a pair of pants. 

Eva Lou. 
(Going to the hall door.) 
I will call on you again in the morning. Perhaps 
you will have completed your toilet by that time. 

Stewart. 
I'll be miles away from here in the morning, I 

^^P"- Eva Lou. 

( Turning. ) 
You can't mean that you are leaving town while 
the work is in this critical condition.? 

Stewart. 
I am in a critical condition myself. 



PUTTING IT OVER 47 

Eva Lou. 

{Turning.) 
Mr. Browne, I came here to-night to ask your 
help. We have never been friends. In fact, I have 
never liked you, personally. I cannot approve of 
your mode of Hfe. You spend your nights drinking 
and carousing, and your days in footless recreations, 
while your subordinates do your work, and do it 
badly. But, personalities aside^ I know you to be a 
great engineer. The man who could make those 
magnificent drawings is nothing short of a genius. 

{She points to the blue prints on the mall behind 
Stewart. He turns, sees the blue prints for the 
first time, and gasps.) 

Stewart. 
Why — that's my work ! 

Eva Lou. 

I know it. „ 

Stewart. 

But you don't understand. I — me — myself. {Tap- 
ping his chest.) I did that. I can prove it. 

Eva Lou. 

You would be wasting your time proving the 

axiomatic. The world knows you made those draw- 

infifs, Mr. Browne. „ 

Stewart. 

No ; not Browne ; Stewart, Jack Stewart drew 

those plans. ^ 

^ Eva Lou. 

A moment ago you said they were yours. 

Stewart. 
Well, I am Jack Stewart. 

Eva Lou. 
You are an idiot. 



48 PUTTING IT OVER 

Stewart. 
Oh, what's the use. {Turns to print.) I spent 
the best years of my life on those plans. 

Eva Lou. 
That is very probable. 

Stewart. 
{In stupefaction.) 
Well, I'll be hanged ! 

Eva Lou. 
That is also very probable — but not at all inter- 
esting. Good night. {Starts for the hall door.) 

Stewart. 
{Reaching over desk, he tries to catch at her dress, - 
hut fails.) 
Wait ; wait. Tell me what you want me to do. 

Eva Lou. 

{Turning,) 

I want you to buckle down and do the work you 

are paid to do. I want you to get some system into 

this muddle. You are thousands of dollars over your 

estimate, and^ weeks behind in your work. 

Stewart. 
It requires both time and money for big under- 
takings. ^^^ ^^^ 

There's no reason why the hard rock men should 
be allowed to play quoits on the company's time. 
There's no reason why the steel men should lie around 
waiting for material when I, personally, know there 
have been three cars of girders on a siding at Yuba 
Junction for the past ten days. 



PUTTING IT OVER 49 

Stewart. 
Those are details of construction, and should be 
looked after by the sub-engineers. 

Eva Lou. 
I know. But Daintry and the other engineers are 
worse than you are. There's only one man on the 
staff that's worth his salt. That's the little Scotch- 
man, Macintosh ; and he can't attend to everything. 

Stewart. 
If I were to promise that I would take hold of 
this job, and rush it through on schedule, would you 
shake hands and be friends .^^ 

Eva Lou. 
With all my heart. 

Stewart. 

( Seriously. ) 

Then shake. I promise. {They shake hands over 

the desk.) Now don't worry. Everything is going 

to come out fine, as the man said when he fell into 

the sausage machine. {Retains her hand.) 

Eva Lou. 

Thank you, Mr. Browne. I know you can do it 

if you'll only try. And now I think I'd better go. 

And if you don't need my hand an}^ longer, I'll take 

it with me. 

Steavart. 

{Releasing her hand.) 

I beg your pardon. I'm so forgetful. 

Eva Lou. 
There's something else I think I ought to tell 
you. It's about Lannon. 



50 PUTTING IT OVER 

Stewart. 

Lannon? • „ , 

Eva Lou. 

Yes. You know he and father are political en- 
emies. And in spite of the fact that he is outwardly 
friendly I am sure that he hates dad and would be 
glad to see him ruined. 

Stewart. 
What harm can he do.? - 

Eva Lou. 
You should know best about that. I should im- 
agine that a contractor could do very serious harm 
if he were so disposed — and were not carefully 
watched. ^ 

STEWART. 

I hardly think — 

Eva Lou. 
{Interrupting.) 
That isn't all. He wants to marry me. Good 
night, Mr. Browne. 

Stewart. 
Say — we are going to be friends, aren't we.^^ 

Eva Lou. 
On certain conditions. 

Stewart. 
Well, as we are going to be friends, don't you 
think you ought to call me by my first name.? 

Eva Lou. 
Call you by your first name.? What a ridiculous 
idea! I couldn't think of it. 

Stewart. 
I can't think of it either. 



PUTTING IT OVER 51 

Eva Lou. 
Well, good night (as she opens the door) — Tom. 
(Runs out into the hall and slams the door,) 

Stewart. 
(Coming down stage,) 
Tom Browne. An honest name for a couple of 
crooks. Dandy girl, that ; class, too. Browne steals 
my drawings, but he isn't engineer enough to put 
it over. Gets things all muddled up, then blows the 
job. I come along — look exactly like Browne. Man 
says he'll give me five thousand dollars to go away. 
Girl offers her friendship if I'll stay. (After a 
pause.) I'd like to stay, but — five thousand dollars 
is some item. (Goes left.) 

Lannon enters from outside through right door, 
and comes down center. 

Lannon. 

( Taking a paper from his pocket. ) 

Let's get through with this. I saw Daintry at 

the Quadrant. He'll be here in a couple of minutes 

for instructions. Sign this before he comes. (Puts 

paper on the desk.) 

Stewart. 
What's the rush.? Got the money.'' 

(Lannon hands Stewart a check, Stewart looks 

at it.) ^ 

^ Stewart. 

Lannon; is your name Lannon .f* 

Lannon. 

What the devil do you think it is — Santa Glaus.? 
What's the matter with you, anyway.? 



52 PUTTING IT OVER 



Stewart. 
Lannon, eh? {Starts to tear the check up,) 

Lannon. 
Hey! What are you doing? (Starts forward.) 

Stewart. 
I'm turning honest, mister. And it hurts. 

Lannon. 
But you're going away, aren't you? 

Stewart. 

No. 

Lannon. 

(Taking a quick step forivard and glaring at Stew- 
art, who looks him. steadily in the eye.) 
I'll break you for this, Browne. 

Stewart. 

I'm broke, already. {Goes to left. Rings hell.) 

Let me tell you something, Mr. Lannon. You're 

annoying a friend of mine, a young lady. You want 

to stop it, or you and I will go to the mat. {Comes 

center.) -r 

^ Lannon. 

A friend of yours? Who is it? 

Stewart. 
I don't know her name, but it goes, just the same. 
(Bolton enters from the hall.) Bolton, show this 
gentleman the door; both sides. (Bolton crosses 
to door at right and holds it open.) 

Lannon. 
I know. You're full of dope now, and feeling 
chesty. To-morrow when it wears off you'll be whin- 
ing around like a whipped cur. Oh, I know you. 



PUTTING IT OVER 53 







Stewart. 






No, 


Lannon. You only think you do. 










Lannon. 






You 
fool. 


think you're mighty clever, but 
Stewart. 


you're 


a 


Ha, 


ha! 


He does know me. 
Lannon. 






Don 


't fo 


(In high anger.) 
rget I know you're a thief! 

Stewart. 






(Quietly.) 
A thief! (Stands perfectly rigid, with his face 
the audience.) ^ 


to 



Ah; you forgot I knew about your stealing the 

plans. ^ 

^ Stewart. 

(Realizing that Lannon is not referring to his re- 
cent attempt at burglary, shows relief, drops 

tense pose and speaks cheerfully.) 
Oh, yes ; the plans. I did forget about them. Well, 

good night, Lannon. Be careful of the steps as 

you ejo out. ^ 

Lannon. 

(Crosses to right door angrily, turns and glares 
at Browne; in disgust.) 

Aw! (Exits right.) 

Stewart. 

Bolton, come here. (Bolton comes to center.) I 
won't need a valet after to-night. You're dismissed. 

Bolton. 

(Aghast.) 

Dismissed? But your clothes, sir! How — ? 



54 PUTTING IT OVER 

Stewart. 

{Interrupting casually.) 

It may be that tying my own necktie and pulling 

on my own pants will be too great a strain on my 

feeble intellect, but I'm going to make a stab at it. 

Bolton. 
I've served you long and faithfully, and I am — 

Stewart. 
I understand. I'm sorry. 

Bolton. 
I'm not a rich man, sir. My family — 

Stewart. 
{Firmly.) 
Bolton, you are discharged. 

Bolton. 
{Dejectedly.) 
Yes, sir. {Turns up stage.) 

Stewart. 
I need a private secretary, Bolton; one who will 
be loyal. Do you think you could qualify for the 
job.? 

BoLTON. 

{Surprised, hut controlling himself.) 
Yes, sir. ^ 

hTEWART. 

Then take some dictation on the machine and have 
the letters ready to mail in the morning. 

Bolton. 
Yes, sir. {Sits at desk and prepares typewriter,) 

Stewart. 
{Going to telephone.) 
Where can I get Macintosh on the phone .^^ 



PUTTING IT OVER 55 

^ - Bolton. 

Construction camp, sir. {Feeds a sheet of paper 
into the machine.) ^ 

^ bTEWART. 

{At phone.') 
Hello; get me Macintosh, of the engineers, at con- 
struction camp. * * Macintosh. * * Call me when 
jou get him. {Hangs up.) 

Bolton. 

All ready, sir. „ 

bXEWART. 

{Standing left center,) 
To Yardmaster, Yuba Junction. 

Bolton. 
{Writes on machine, and repeats.) 
"Yuba Junction." 

Stewart. 
Had bills of lading for three cars of steel a week 

' Bolton. 

" a week ago" — 

Stewart. 
Why in hell haven't thej been delivered.'' 
Daintry comes in right door, quickly, while Bol- 
ton is tipping. 

{During the ensuing dialogue, Bolton finishes 
typing the last line that Stewart has dictated, takes 
the letter from the machine, inserts a fresh sheet of 
paper and sits there quietly, awaiting further dicta- 
tion and enjoying Daintry's disconifiture,) 

Daintry. 
{As he enters.) 
I say, Browne, what's this I hear about you and 
Lannon.? You must be a bally rotter — 



56 PUTTING IT OVER 

Stewart. 
{Stepping forward quickly, meeting Daintry at 
center.) 
Take off that hat. 

Daintry. 
Oh, I say, now, Browne — 

Stewart. 
(Poking Daintry in the chest with his finger.) 
Take off that hat! (Daintry, amazed, takes off 
his hat.) You come in here with your hat on and 
smoking a rimfire cigar, just as if you owned the 
place. Can't you see I'm dictating.? You wait 
until I'm through; then I'll talk to you. (To Bol- 
ton.) If cars are not here by to-morrow afternoon, 
I'll go after 3^ou and make you eat bills of lading. 
Signed. (To Daintry.) Now what do you want.? 

Daintry. 
(Protesting.) 
Say, Browne, you're mighty 'igh-'anded. 

Stewart. 

(Curtly.) 

You're fired. -r^ _ 

Daintry. 

Fired! What do you mean.? 

Stewart. 
(Poking finger.) 
Fired — sacked — dismissed — discharged. You're 
through. Can you get that into your thick head.? 

Daintry. 
(Defiantly.) 
Huh! I guess Lannon will have something to say 
about that. 



PUTTING IT OVER 57 

Stewart. 
He'll have a proud chance to-morrow. Now, 
you're a big man, but it's mostly fat and conversa- 
tion. If you are on the job in the morning when I 
get down, I'm going to take a minute and a half off 
and trim you down to a mere figure of speech. 

Daintry. 
You mean I've got to leave to-night .^^ 

Stewart. 
You grasp the idea exactly. 

Daintry. 
Why am I discharged.^ 

Stewart. 

For being incompetent ; for not attending to your 

business. ^ 

Daintry. 

Maybe if you had attended to your business I 

might have done better. 

Stewart. 
(After a pause.) 
That's so, Daintry. Maybe you're not altogether 
to blame. I'll give you another chance. But you'll 
have to take your orders from Macintosh. 

Daintry. 
(Hotly and loudly.) 
Me play second-fiddle to that blasted Scotchman .P 

(Phone rings hard.) 

Stewart. 
(Going to phone.) 
Second fiddle ? You're mighty lucky if you turn 
the music. (At phone.) Hello? * * That yon. 



58 PUTTING IT OVER 

Macintosh? * * This is Browne. (Shouts.) You're 
promoted, Mac. * * You will have full charge un- 
der me. Daintry will take his orders from you. 

Aunt Jule enters from the hall. She is in a 
white dressing gown, and wears a cap. 

Aunt Jule. 
What is the meaning of all this outlandish noise .^^ 

Stewart. 

(Waving his hand.) 

Sh! 

Aunt Jule. 

(With dignity.) 

Young man, do you know whom you are "shush"- 

° Stewart. 

(At phone.) 
Have every man in camp on the job at seven 
o'clock. Ring the bell to-night. 

Aunt Jule. 

( Emphatically. ) 

I want to know what this means — ringing bells, 

banging typewriters, shouting at the top of your 

voices, at ten o'clock at night and my nerves all of 

a twitter. ^ 

Stewart. 

(At phone.) 

No, Mac. It's not a fight. * * Some crazy woman 

just broke into my room in a nightdress. 

Aunt Jule. 
"Nightdress !" 

(Bolton laughs uncontrollably. Aunt Jule 
gazes at him. He subsides.) 



PUTTING IT OVER 59 

Stewart. 
(To Aunt Jule.) 
See what you've done? You've made him laugh. 
(To Bolton.) Bolton, I didn't think you could do 
it. Your salary is raised. 

Bolton. 
Thank you, sir. (Resumes typewriting.) 

Stewart. 

(Coming to center.) 

Now, Daintry, I want you on the job at seven 

o'clock. T^ 

Daintry. 

All right. 

Aunt Jule. 

(Standing behind Stewart.) 

Younfif man. ^ 

^ Stewart. 

(Ignoring her.) 

I want you to lay off half the hard rock men. 

Daintry. 

Yes. 

Aunt Jule. 

(More loudly.) 

Mr. Browne. ^ 

Stewart. 

And make the others speed up at the drills. 

Aunt Jule. 
(Tapping Stewart on the shoulder.) 
Young man, I'm speaking to you. 

Stewart. 
(Turning.) 
Excuse me. I thought you said "Browne." 

Aunt Jule. 
Well — that's your name, isn't it? 



60 PUTTING IT OVER 

Stewart. 

(Confused.) 

Yes. Yes, of course. But you should say it witli 

an "e." at 

Aunt Jule. 

Young man, — 

(She is interrupted by the sound of a gong ring- 
ing rapidly in the distance.) 

Stewart. 
(Smiling.) 
It doesn't take Macintosh long to get into action. 
(Crosses left.) 

Colonel Lane rushes in from the hall, in his 

pajamas. -r 

^ •^ Lane. 

Great salt mackerel, Browne! What's the mat- 
ter? 

Stewart. 

Just stirring things up a little. Got to get this 

iob done on schedule. ^ 

■^ Lane. 

(Amazed.) 

He's woke up at last! (To Aunt Jule.) What 

are you doing running around half-dressed.? 

Aunt Jule. 
I've got more on than you have. 

Stewart. 
(Smiles.) 
I'm going to bed. Call me early, Bolton. (Crosses 

^ '^ Bolton. 

Nine o'clock, sir.? 

Stewart. 
(At door of bedroom, turns.) 
Six. 



PUTTING IT OVER 61 

Lane. 
Six o'clock! Lord! It must have been those 

^^^^'' Stewart. 

And Bolton ; see if you can dig me up a pair of 

pants. X 

^ Lane. 

(With mock seriousness.) 

And Bolton; dig up a pair for Aunt Jule, too. 

Aunt Jule. 

Dave Lane ! „ 

Stewart. 

That will be all for to-night, Daintry. (Daintry 

starts to cross right toward outside door.) 

Eva Lou enters from the hall, in a bright kimono. 

Eva Lou. 
Dad! Aunt Jule! What is it.^ Is there a bur- 
glar in the house.? 
^ Stewart. 

(Comes center.) 
Yes, miss ; there's a burglar in the house. And 
he has come to stay. 

Positions. 
Daintry at right door, about to exit; Bolton at 
desk, busy with letters; Stewart and Eva Lou up 
center; Aunt Jule down left; Lane at hall door. 

Curtain. 



PUTTING IT OVER 



The Second Act. 

Scene: Engineer's general offices at the dam, 
six weeks later. The room is of rough hoard con- 
struction, with an outside door left of center, and a 
large window right of center, in the rear wall. 
Through the window and open door is afforded a 
view of a deep gorge and mountainous country in 
the distance, and a dam with derrick, steam shovel, 
etc., in the middle distance. {Where special scenery 
is not available, a mountain landscape or rocky pass 
drop will serve for the hacking.) 

Beside the entrance from out-of-doors, the room 
has three other doors, xvhicli should he of the office 
type with glass panelling, if possihle. A door in the 
center of the left wall is marked ^"Yuha Irrigation 
Co.'' In the right wall, up stage, is a door marked 
''Chief of Engineers," and nearer the footlights is a 
door marked ''Contractor's Office." These three 
doors should all have plain interior hacking. 

Against the rear wall, hetween door an^ window, 
is a chair. There are chairs at either side of the 
Company office at the left, and down right of center 
is a plain wooden tahle, with a chair hack of it and 
another at its left. On the tahle is a telephone. A 
hatrack is left of the outside door. The room may 
he further dressed with wastehasket, office filing cab- 
inet, etc. 

When the curtain rises, Daintry is seated hack 
of the tahle, and Lannon-^j^^ the left of the tahle, 

63 



64 PUTTING IT OVER 

Daintry's manner clearly shows that he is dog- 
tired. ^ 

Daintry. 

( Complaining. ) 
That fellow Browne is a regular slave driver. By 
Jove, I've not had a breathing spell for six weeks. 

Lannon. 
(Curtly.) 
Why don't you stop? Lay down on him.? 

Daintry. 
I can't. That's the worst of it. Yoii see, the 
bally rotter works twice as hard as any one else. One 
has to do one's best to save one's face. 

Lannon. 
He's a whale for work, all right. Gad, I never 
saw such a change in a man. 

Daintry. 
(Leaning over.) 
Lannon, I believe he suspects something. 

Lannon. 
( Uncomfortably.) 
What do you mean.? 

Daintry. 
About the low grade hydraulic cement. 

Lannon. 
What makes you think so? 

Daintry. 
Twice I've run across him late at night measuring 
those blasted abutments. Twice he has made me 
verify his figures on the factor of safety. And I 
am certain the man he was showing about the works 
yesterday was a government expert. Of course, he 



PUTTING IT OVER 65 

couldn't actually discover anything. It's too clever- 
ly covered. -r 

*' LrANNON. 

(After a moment's thought.) 

Daintry, I never told you, because I didn't think 

it was necessary. But Browne knows about the 

cement. -r^ 

Daintry. 

(Springing to his feet.) 

What.? 

-Lannon. 

He found it out six weeks ago, and charged me 

with Q'raH'mQ'. _^ 

^ ^ Daintry. 

What did you say? 

Lannon. 

BlufFed him. ^ 

Daintry. 

Then what's his game.^^ (Sits.) 

Lannon. 
Don't know. He's got me guessing. Either he 
has forgotten about it, or he is the most consummate 
hypocrite in the world. 

Daintry. 

"Forgotten." How could a man forget a thing 

like that.? 

Lannon. 

Well, you know he is — or was — some kind of a 

drug fiend. He was pretty well lit up the night he 

told me about it. Might be just possible that the 

hop made him forget about it. (Shrugs.) Well, 

one way or the other, it doesn't make much difference. 

I have the money, and to-morrow the governor of 

the State will set his seal of approval on the .work. 

The band will play, the flags will be flying, and 

they'll turn the water on. 



66 PUTTING IT OVER 

Daintry. 
{Seriously.) 
And bj night the flags will still be flying — half- 
mast. T 

L/ANNON. 

Nonsense ! ^ 

Daintry. 

When the dam goes, it will take its toll of human 

life. 

Lannon. 

{Blustering.) 

Now, for the love of heaven, don't start croaking. 

Daintry. 

{Leans hack in the chair, his feet on the table.) 
Listen, Lannon. You think that under pressure 
the dam will slowly disintegrate — gradually rot 
away ; that it will take days, even months, for it to 
be destroyed. But I know difl'erent. Heavy con- 
struction work doesn't act that way under high pres- 
sure. It will stand the stress until the factor of 
safety has been eliminated. Then a crash, and a 
tremendous head of water will rush through the 
gulch, sweeping everything before it. Don't forget 
— water is the most irresistible force God ever creat- 
ed or man ever tried to handle. 

Lannon. 

What of it.^ There's only one ranch in the direct 
line of the water — the "Double-0." All the punchers 
will be here to-morrow, and I have personally invited 
Mr. and Mrs. Ring to spend the day with us. Of 
course, there will be some destruction of property. 
But you can't make an omelet without breaking 
eggs. By the way, your end of the money was to 
be $3,000, wasn't it?*^ 



PUTTING IT OVER 67 

Daintey. 

Yes 

Lannon. 

{Sneering.) 

I don't suppose jour conscience will permit jou 

to take tainted money? 

Daintry. 
{Snarling.) 
Don't try any games with me, Lannon. I did 
the work, and I want my money. 

Lannon. 

{With a dry laugh.) 

Oh, all right. Don't get excited. I just wanted 

to know the money value of your moral principles. 

I'll pay you in. cash. We won't have a record of the 

transaction at the banks. 

The center door is opened from outside. 

Daintry. 
Sh. 

Bolton enters and stands holding the door open, 
looking off right. 

Lannon. 
{Looks around.) 
Hello, Bolton. Where's your master.'' 

Bolton. 
{Quietly.) 
I call no man "master," Mr. Lannon. 

(Stewart passes the window on his way to the door 
from hack right.) 



68 PUTTING IT OVER 

Lannon. 
{S ar cast ic ally .) 
Excuse me, Bolton. I forgot you were emanci- 
pated. _, 

JiOLTON. 

If you mean Mr. Browne, he is right here. 

Stew^art has entered during Bolton's last speech, 

and stands quietly in the doorway. He is dressed in 

khaki, with leggings, and a linen shirt of some ^solid 

color. He carries his coat on his arm, and wears a 

soft felt hat. His looks and actions show that he has 

been under considerable strain for some time. His 

speech is crisp. 

Stewaht. 

(Sharply.) 

Well, Daintry.? ^ 

Daintry. 

(Springs to his feet, almost bringing his hand to a 

salute but remembering in time to check himself.) 

Yes, sir. ^ 

bTEWART. 

What is it? ^ 

Daintry. 

(Taking papers from pocket.) 

Some communications regarding the disposition of 

the excursion trains and the governor's private car 

from the junction, sir. 

Stewart. 
You know that Bolton attends to all minor de- 
tails not directly connected with the works. 

Daintry. 
Yes, but I thought the governor — 

Stewart. 
Give them to Bolton. 



PUTTING IT OVER 69 

Daintry. 

Yes, sir. {Hands the papers to Bolton and 

starts to £^0.) 

Stewart. 

And about the seepage; did you examine into it.? 

Daintry. 
( Turning". ) 
No, sir; not as yet, sir. 

Stewart. 
Well, do. And let iiie know the amount of con- 
crete required to stop it. 

Daintry. 
(At center door.) 
Yes, sir. As you say, sir. {Goes outside and 
closes door after him.) 

Lannon. 
{Imitating Daintry.) 

"Yes, sir." "No, sir." "As you say, sir." Gad! 
Daintry and Bolton appear to have changed places. 
{Crosses to right, about to go into his office — the 
one marked '* Contractor's Office.'') 

Stewart. 
Just a moment, Lannon. I want to have a talk 
with you. (Lannon turns and nods. Stewart ad- 
dresses Bolton.) I wish you would make a state- 
ment of my personal account with the company. 

Bolton. 

To date.? 

Stewart. 

Bolton. 
Very well. {He goes into Stewart's office — the 
one marked "Chief of Engineers.") 



70 PUTTING IT OVER 

Stewart. 
{Coming center.) 
Well Lannon, the dam is finished. 

Lannon. 
Yes? I suppose congratulations are in order. 

Stewart. 
It is apparently as safe and sound as a propo- 
sition in geometry, but there's something wrong 
about it. Do you know what it is ? 

Lannon. 
Why do you ask me? I'm only the contractor. 

Stewart. 
It is because you are only the contractor that 
I ask you. No unit of strength has been overlooked 
in the construction. If the dam has a weakness, it 
must be the material used in the building. 

Lannon. 
You passed on every ounce of material I supplied. 
I've got your signature. 

Steavart. 

{Not satisfied.) 

Yes. 

Lannon. 

{Crossly.) 

Say, Browne, what is this? Cross-examination? 

What the devil do I care about your impressions? 

I've got work to do. I want to get through early. 

Torrence came in last night. {Crosses to his door 

at the ri^M.) ^ 

° ^ Stewart. 

Torrence who? ., 

Lannon. 

{Turning quickly.) 

What's that? 



PUTTING IT OVER 71 



Stewart. 
(Catching himself.) 
Beg pardon. I was thinking of something else. 
What did you say, anyway .^^ 

Lannon. 

(Speaking very distinctly.) 
I said, Torrence got in last night. 

Stewart. 
Ah; is that so.? That's good. 

Lannon. 
(After a pause, in disgust.) 
Aw! (Exits into his office down right.) 

Bolton enters from Chief of Engineer's office up 
right. 

Stewart. 
Bolton, who or what is "Torrence"? 

Bolton. 
Torrence is the name of Mr. Lannon's only daugh- 
ter. She has returned from abroad. 

Stewart. 
(Relieved.) 
Whew ! That was close. I didn't know whether 
it was a girl or a sleeping car. 

Bolton. 
(Hands papers to Stewart.) 
Here is the statement. (Reads over Stewart's 
shoulder.) "On deposit, April 20th, seven hundred 
dollars. Drawn against, one hundred and fifty dol- . 
lars. Balance on deposit, five hundred and fifty • 
dollars." 



72 PUTTING IT OVER 

Stewart. 

Five hundred and fifty dollars. I'm a regular 

plutocrat, eh, Bolton? Sit down, I want to talk to 

you. (Bolton sits at left of desk.) Bolton, you had 

better prepare yourself for a great shock. I am not 

Tom Browne. ^ 

Bolton. 

{Quietly.) 

I know it. ^ 

Stewart. 

{Startled.) 

You know it.? _, 

Bolton. 

Yes; I have known it for some time. To be exact, 

from the night you came here. 

Stewart. 

Well, I'll be hanged! If you knew, why didn't 

you expose me? _, 

Bolton. 

I wanted you to stay here and impersonate my 

mas — {corrects himself) Mr. Browne, until I could 

find him and bring him back. It was the only way 

to avoid scandal. ^ 

Stewart. 

•Did you find him? 

Bolton. 

Yes. ^ 

Stewart. 

You did? Where is he now? 

Bolton. 
In a hospital in Kansas City. He met with a 
terrible accident. He was injured about the head, 
and has been delirious ever since. I was told he had 
been married that very morning. 

Stewart. 
Married? That was a terrible accident. 



PUTTING IT OVER 73 

B01.TON. 
{Ignoring the jest.) 
I had a letter this morning'. He has quite re- 
covered. „ 

STEWART. 

I suppose he'll come back here. 

Bolton. 
That would seem to rest entirely with you. 

Stewart. 
You think I should step quietly out.^ Let him 
resume his old position, and take the credit due me.'^ 

Bolton. 
That would be a generous thing to do. 

Stewart. 

Why should I.? 

*^ Bolton. 

Because it's the right thing to do, and because you 

are the kind of a man who does the right thing. 

Stewart. 
{Laughs.) 
Well, I guess you're right, Bolton. If Browne 
wants to come back he may do so, and no one need 
be the wiser, as far as I'm concerned. 

Bolton. 
Thank you, Mr. Browne. {Shakes his hand and 
goes to Stewart's office door at right.) 

Stewart. 

I have got a little work to do here. I wish you'd 

look in once in a while and see if I'm still awake. 

I'm about all in. _. 

Bolton. 

Very well. {Exits into Stewart's office.) 



74 PUTTING IT OVER 

Stewart. 
{Yawns, goes to table, sits, and takes telephone.) 
Hello; hello. * * Get me construction. * * (Pause.) 
Is that you, Mac.^ * * Listen carefully, Mac. I 
want you to get me a sample of the cement that was 
under the first layer of rubble. * * I know it was 
all used, but try and find the bags it was shipped in. 
* * Get me enough to make a test; a handful will 
do. (Eva Lou and Toriience cross outside, pass- 
ing by the window from the right.) I'll depend on 

you, Mac. ^ ^ 

•^ Eva Lou. 

{Off stage.) 
Oh, I had a dandy time. I was on the go thirty- 
six out of twenty-four hours. 

Eva Lou enters center, crosses to left door — 
marked Company — and exits. Toriience enters 
at the same time with her, and sees Stewart, whom 
she mistakes for Browne. She looks after Eva Lou, 
and drops a glove as she runs to Stewart, kneels 
beside him, while he is bending over the telephone, 
throws arms around him and kisses him. 

TORRENCE. 

{In a low, impassioned voice.) 
Oh, dear heart ! Dear heart ! How I missed you ! 
{Kisses him.) Six weeks have been six eternities! 
{Kisses him again.) Why didn't you answer my let- 
ters, dear.? {Kisses him again.) 

Eva Lou. 
{Off left, calls.) 
Torrence. „ 

ToRRENCE. 

{Rising and hastily picking up her glove as Eva 
Lou appears at the door.) 



PUTTING IT O VER 75 

I dropped my gloves. Don't 3^ou think they are 
pretty? So cheap, too — only three-ninety-eight. 
(Both exeunt into Company of/ice at left.) 

Stewart. 
{Stands with the telephone in his hand. After a 
pause, he smiles, and calls after her loudly.) 
Call again! (Stands laughing, and suddenly 
starts as though he heard someone at the phone. 
Sits and talks into phone.) What's that? * * You're 
crazy! * * I never called you "dear heart." Say, 
Mac, you want to be careful. When a man imagines 
he hears people calling him "dear heart," he's in a 
bad way. You want to leave the ladies alone. They're 
getting on your mind. 

Aunt Jule enters from outside. 

Stewart. 
(To phone.) 
Now, don't swear. It's against the rules of the 
telephone company. It says so in the book. (Aunt 
Jule comes down stage.) I positively refuse to lis- 
ten to such language. (Hangs up the receiver.) 

Aunt Jule. 
Young man, I wish to talk to you. 

Stewart. 
(Rising and putting on his coat.) 
Delighted, I'm sure. 

Aunt Jule. 

I am, as you are aware, the only sister of your 

employer. ^ 

^ -^ Stewart. 

Yes. Have a chair. (Offers her a chair.) 



76 PUTTING IT OVER 

Aunt Jule. 

(Sitting.) 

I am also the aunt and guardian of Miss Lane. 

Stewart. 
Quite so. Have another chair. 

Aunt Jule. 
Mr. Browne, for some weeks you have been paying 
marked attention to my niece, Miss Lane. 

Stewart. 

Yes. 

Aunt Jule. 

As her nearest surviving female relative, it is my 

duty to tell you that your suit is hopeless. You are 

a comparatively poor man, Mr. Browne. You find it 

hard to live within your salary. 

Stewart. 
I'd find it hard to live without it. 

Aunt Jule. 
Then there is the question of family. You must 
admit that the name of Browne is very — (Pauses.) 

Stewart. 

(Smiling.) 

Popular. . -r 

^ Aunt Jule. 

"Common" expresses it better. Miss Lane is con- 
nected with one of the finest English families. You, 
I presume, have no family to speak of. 

Stewart. 

Er — not yet. . , 

•^ Aunt Jule. 

Her maternal grandfather was the late, lamented 

Lord Durham who got into the public eye by being 



PUTTING IT OVER 77 

suspended from parliament on account of his radical 
speech on the Asiatic question. 

Stewart. 
My paternal grandfather was the late lamented 
John Browne, who got into the public eye by being 
suspended from a sour apple tree as we go marching 

Aunt Jule. 
In Columbus, Ohio, where Colonel Lane resides, 
my niece is a reigning belle, and in our frequent trips 
abroad she moves in the very best society. I lived 
in London until recently, with my cousin, an English 
baronet. When I came over to this country, to Co- 
lumbus, I — 

Stewaet. 

What was that last remark .f^ 

Aunt Jule. 
I said, I came over to Columbus. 

Stewart. 

Excuse me. I thought you said you came over 

with Columbus. . ^ 

Aunt Juee. 

The idea! Why, Columbus came over in 1776. 

Stewart. 
Did he? That's startling, if true. 

Aunt Jule. 
(^Confused.) 
Of course not. I was thinking of Abraham Lin- 
coln. ^ 

STEWART. 

I don't think you need to say any more. I am 
quite aware of my insignificance. 

Bolton enters from Stewart's ofjice at right. 



78 PUTTING IT OVER 

Bolton. 

Pardon me. 

Stewart. 

What is it, Bolton.? 

Bolton. 
I just wanted to see if you were awake. 

Stewart. 
Thank you. (Bolton returns to Stewart's office. 
Stewart addresses Aunt Jule, rising.) You will 
excuse me? This is my busy day. 

Aunt Jule. 
I hope you understand what I have been saying. 

Stewart. 
I understand thoroughly. You have advanced a 
number of reasons why I should not marry your 
niece. Reason number one, I'm poor. Reason num- 
ber two, her grandfather was the original old Bull 

Durham. • . ^ 

Aunt Jule. 

(^Correcting him. ponderously.) 

Lord Durham. ^ 

STEWART. 

You have overlooked the most important reason. 

Aunt Jule. 
What's that.? 

STEWART. 

Miss Lane wouldn't marry me if I were worth a 
million, and were a descendant of old King Cole. 

Aunt Jule. 
Perhaps not. But I am free to say she shows con- 
siderable interest in you. 

Stewart. 
Yes ; the same sort of interest she'd show in some 



PUTTING IT OVER _79 

new kind of a bug that had fallen into the sugar- 
bowl. . T 

Aunt Jule. 

Well, I want you to know that I am not preju- 
diced against you personally. I am not a woman of 
narrow views. I am, generally speaking, a — 

Stewart. 

(At his office door.) 

I've noticed that. Good day, madam. (Exit 

into his office.) . ^ 

••' ^ Aunt Jule. 

Impertinent young scamp ! 

ToRRENCE enters hastily from Company office. 

TORRENCE. 

Oh, Aunt Jule. (Comes to center.) 

Aunt Jule. 
My name is Mrs. Lane-Turner. 

ToRRENCE. 

I beg 3'our pardon. I am looking for Mr. Brow^ne. 
Have you seen him.? 

Aunt Jule. 
(Crossing to left.) 
I am not Mr. Browne's keeper. 

ToRRENCE. 

Indeed! Mr. Browne is to be congratulated. 

Aunt Jule. 
When I was a girl it was customary to show re- 
spect to one's elders. 

ToRRENCE. 

But that was a long time ago. Other times, other 
manners, you know. 



80 PUTTING IT OVER 

Aunt Jule. 
What's more, we didn't traipse around after young 
unmarried men. We let them do the courting. 

TORRENCE. 

Indeed! How in the world did you ever manage 

to ^et married.? 

Aunt Jule. 

The late Mr. Turner used frequently to say, 

"That Lannon girl will bring her father's gray hairs 

in sorrow to the grave." {Exits into Company 

office, left.) 

Lannon enters from Contractor's office, down 
right. 

TORRENCE. 

{Looking after Aunt Jule.) 
Darned old cat ! 

LrANNON. 

Here ! Honey, honey ! What kind of talk is that ? 
{Sits at left of table.) 

TORRENCE. 

I'm sorry, dad. But that old woman makes me so 
mad with her hyphenated name, her "tut-tut," and 
her "late Mr. Turner.-" I'll bet she's glad he's late. 
{Crosses and sits on arm of Lannon's chair, smooth- 
ing his hair.) I won't bring your gray hairs in sor- 
row to the grave, will I, dad? 

Lannon. 
Not as long as I can buy hair dye. 

ToRRENCE. 

Did you miss me while I was away.? 

Lannon. 
You bet I did. 



PUTTING IT OVER 81_ 

TORRENCE. 

Did you get all my letters? 

Lannon. 

Yep. Did you get all my checks? 

ToRRENCE. 

Meaning that I never wrote to you unless I wanted 
money? 

Lannon. 
No, no. Just a casual remark. 

ToRRENCE. 

{Laying cheek on Lannon's head.) 
You're the dearest old dad in all the world — 

Lannon. 

(Putting his hand in his pocket.) 
How much this time? 

ToRRENCE. 

Oh, it isn't money. 

Lannon. 

What is it, then? Are you sick? 

ToRRENCE. 

If you found out that I had done something 
wicked, could you forgive me? 

Lannon. 

"Wicked?" 

lORRENCE. 

Not SO awfully wicked. Suppose sometime I should 

get married without your consent. What would 

you do? -r 

*^ Lannon. 

Torrence, you haven't fallen in love with one of 

those wop dukes? 



82 PUTTING IT OVER 

TORRENCE. 

Uh-uh. (Meaning ''no.'') 

Lannon. 
Thank the Lord for that. You can marry any- 
one you like, always providing he is an American — 
and straic^ht. ^ 

lORRENCE. 

Then I am going to confess something. I — 

Eva Lou enters, from Company office at left. 

Eva Lou. 
Oh, gosh! I can't stand Aunt Jule this morning. 

Lannon. 

(Rmng.) 

Miss Lane. „ ^ 

Eva Lou. 

How do you do, Mr. Lannon. {To Torrence.) 

Did you buy lots of nice things in Paris ? 

Torrence. 
You bet. Fine linen petticoats. Just as sheer. 
I didn't get many, though. You can't tell what 
they'll wear next season. But I got trunks and 
trunks of the daintiest — {Turning head.) What 
are you waiting for, dad.^ 

Lannon. 

Huh .? I didn't know I w a s waiting. 

TorrenCe. 
But Eva and I want to talk. 

Lannon. 
Go ahead and talk. . Can't you talk about any- 
thing that's fit for your father to hear.? 



PUTTING IT OVER 83 



TORRENCE. 

Oh, pshaw ! It's no fun talking about things that 
are fit for fatliers to hear. 

Lannon. 

All right, I'll go. But don't be long. (Exits into 
his office at 7'is^ht.) ™ 

■'•' ^ ^ TORRENCE. 

(Looking after him.) 
Poor dad. Eva Lou, v/hy don't you marry him 
and put him out of his misery.? • 

Eva Lou. 
Your father.? How can you think of such a thing? 

ToRRENCE. 

Why not.? He's got scads of money. He's a good 
sort. No bad habits. 

Eva Lou. 
He's too old. rn 

lORRENCE. 

Old.? He's not in his second childhood. He can 
still get around and take solid food. (Shrewdly.) 
I believe there's someone else. Who is he.? 

Eva Lou. 
That's a secret. ,„ 

TORRENCE. 

Well, you needn't put on airs. I've got a secret, 

Eva Lou. 
What is it.? ^ 

1 ORRENCE. 

I'm married. ^^ t 

EvA Lou. 

You're joking. ^^^^^^^^^ 

No, I'm not. I've been married six weeks. 



84 PUTTING IT OVER 

Eva Lou. 
Secretly ? „ 

•^ TORRENCE. 

Yes. 

Eva Lou. 

In Paris? _, 

TORRENCE. 

No; in this country. 

Eva Lou. 
Who's the man? „ 

1 ORRENCE. 

That's the secret. ^ ^ 

Eva Lou. 

Do I know him? __ 

TORRENCE. 

Uh-huh. (Meaning "3/^5.") 

Eva Lou. 
(Considering.) 
Let me see. ^ 

1 ORRENCE. 

Now don't start guessing, because I won't tell 
you. (Puts her hand over her mouth.) 

Eva Lou. 
Is it Derverson? „ 

1 ORRENCE. 

I'm going. (Crosses right.) 

Stewart enters from his office and stands watching 
them. 

Eva Lou. 
Is it Conkling? (Torrence goes right to door of 
Contractor's office^ with her hand over her mouth.) 
Is it Cosgrove? 

r Torrence exits, right, closing the door.) 

Stewart. 
Toothache? 



PUTTING IT OVER 85 

Eva Lou. 

No; a secret. ^ 

OTEWART. 

Same thing. She won't rest easy till it's out. 
{Comes down to desk and puts a paper in the draw- 
er.) A secret is hard to keep in this hot weather. 

Eva Lotj. 
You look all worn out. The work has been too 
much for you. ^ 

DTEWART. 

I'll go to sleep to-morrow, and I won't wake up 

for a week. „ ^ 

Eva Lou. 

You mustn't miss the dedication. We're going to 

be awfully gay. Have you heard the program .^^ 

Stewart. 

No. ^ ^ 

Eva Lou. 

Well, since you insist upon my taking a chair, I 

Stewart. 
Excuse me; be seated. {Places a chair.) 

Eva Lou. 
Thank you. Well, to begin with, there is an ad- 
dress of welcome to be delivered by father. Then 
the band will play. Then the governor will press the 
button. I'll telegraph the signal to the gateman. 
He'll open the gate, and the water will do the rest. 

Stewart. 
Do you understand telegraphy.? 

Eva Lou. 
No, but Bolton has been teaching me to make the 
signal "O. K." That's all that is necessary. 



86 PUTTING IT OVER 

Stewart. 
I suppose you will be going abroad shortly. 

Eva Lou. 

I? Why so? 

Stewart. 

Someone said that you were going to be married. 

Eva Lou. 
I hadn't heard of it. 

Stewart. 
Miss Lane, I would like to get your opinion on 
matrimony. -^ j 

I am not really qualified to advise. If you want 
reliable and accurate information, you should ask 
Aunt Jule. She has been married three times. 

Stewart. 
I don't want expert opinion. I want your per- 
sonal point of view. 

Eva Lou. 
(Smoothing out her glove.) 
Well, if conditions were right — the right man, the 
right girl — and if he loved her — 

Stewart. 

Yes? 

Eva Lou. 

And she loved him — 

Stewart. 

Yes? 

Eva Lou. 

I think that it would be very nice. 

Stewart. 
"The right man." That brings on more talk. 
How does one find out that he is the right man? 



PUTTING IT OVER 87 



Eva Lou. 

By asking the person that is most likely to know, 

I suppose. 

Stewart. 

The mr\? ^ ^ 

^ Eva Lou. 

Stewart. 
Miss Lane, let me tell you of a case in point; a 
purely hypothetical case, understand.^ 

Eva Lou. 
Yes. ^ 

hTEWART. 

A comparatively young man with good health 

and the average amount of brains, but with no 

money to speak of — a professional man — let us say 

an engineer — .^ 

^ Eva Lou. 

Like yourself. 

Stewart. 

Yes. Meets a girl — a nice girl — a very nice girl — ■ 

Eva Lou. 

Like me. _, 

Stewart. 

Yes, remarkably like you. This girl has beauty, 

with money and social position. The man falls in 

love with the girl. Now, the problem is this. Should 

the man, knowing the vast difference between their 

estates, social and financial, declare his love and ask 

the girl to marry him.? 

Eva Lou. 
Is the young man sure he loves the girl.'' 

Stewart. 
Oh, reasonably sure ; reasonably sure. He thinks 
about her all the time he's awake, and dreams about 



PUTTING IT OVER 



her all the time he's asleep. The stars are brighter 

and the air is sweeter, the breeze softer when she 

is by his side. (Rising and going toward her.) He 

would hold an eternity of joy well lost, could he but 

press her to his heart, gaze deep into the sapphire 

seas of her eyes, crush the crimson coral of her lips 

in one lonej — .^ ^ 

^ Eva Lou. 

(Rises has tilt/.) 

I — I think we may take it for granted that he 

loves her. 

hTEWART. 

(After a pause.) 
Yes. I think we may safely take that for granted. 

Eva Lou. 

Well, I should advise this young man to have the 

courage of his convictions and tell the girl how he 

feels about it. 

Stewart. 

Suppose he did, and you were the girl, what would 

you say to him? ^^^ l„^. 

I don't exactly know. 

Stewart. 
Well, what do you think? 

Eva Lou. 

I think I had better be going. (Starts toward 

left.) 

Stewart. 

(Crossing and taking her arm.) 
No, you don't. I'll probably never have the cour- 
age to get this far again. Eva Lou, I am the man ; 
you are the girl. You must answer. 



PUTTING IT OVER 89 





Eva Lou. 


Must? 


{Haughtily.) 
Stewart. 


Must! 


{Firmly.) 
Eva Lou. 


Oh, well, 


{Smiling.) 
I suppose if I must, it will have to be 


"yes." 





(Stewart stoops to Mss her, but she lowers her 
head and her big hat covers her face.) 

Bolton enters from Engineer's office, 

Bolton. 
Beg pardon — 

(Eva Lou and Stewart separate,) 

Stewart. 
Well, what is it, Bolton.? 

Bolton. 
I just wished to see if you were awake. 

Stewart. 
Yes, I am awake, Bolton. 

(Bolton bows and exits, grinning, returning to En- 
gineer's office.) 

Eva Lou. 
I'm sure he saw you. 

Stewart. 
Sure, he saw me. He saw me gazing intently at 
the top of your hat. 

Eva Lou. 
But, Tom dear, he — 



90 TUTTING IT OVER 

Stewart. 
(Frowns.) 
"Tom?" {Sloxvly.) Say, when did you first be- 
fi^in to love me? 

° li-VA iiOU. 

Oh, ages and ages ago, 

Stewart. 
I know, dear. But can't you be a little more 
definite? {Looks troubled.) 

Eva Lou. 
Oh, what difference does it make? 

Stewart. 
It maKes a h — It makes a lot of difference. 

Eva Lou. 

The first time I really liked you was the night I 

asked you if you wouldn't buckle down to work and 

help dad. ^ 

^ Stewart. 

(Reliemd.) 

I'm mighty glad to hear that, Eva Lou, there is 
something else I ought to tell you. Something about 
my past- j,^^ Lou. 

I don't want to hear anything about your jjast. 

I know you were rather wild, and there was a time 

when I actually hated and despised you. You are 

different now, and we will let the dead past bury its 

dead. o 

Stewart, 

But suppose I had committed a crime? 

Eva Lou. 
You haven't murdered anyone, have you.'^ 

Stewart. 
No. Not yet. 



PUTTING IT OVER 91 

Eva Lou. 

Well, then let's not talk about it. 

Stewart. 
All right. Now are you going to let me kiss you.^^ 

Eva Lou. 

Kiss me ? The very idea ! What for ? 

Stewart. 
Well — it's customary, you know, when people be- 
come ensealed. -^^ 

^ ^ Eva Lou. 

( Yielding. ) 
If it's customary, of course — (Stewart again 
tries to kiss hei', but the hat is in the way.) That 
silly old hat is awfully in the way, isn't it.^ 

Stewart. 

Awfully. „ -r 

'^. Eva Lou. 

Wait. (Takes off hat, pins it on Stewart's arm, 

and they kiss.) 

(As they stand with their arms about each other, 
their position is such that his face is hidden and they 
do not observe when) — 

Lane enters from his office at the left, and stands 

in stupefaction. After a pause he takes out his xvatch 

as if timing Stewart. After further pause, he goes 

down stage and places his hat on the table. He sits 

at the left of the table', crosses his legs and continues 

to look at his watch. After further pause, Stewart 

looks up and sees Lane. His face shows horrified 

surprise. ^ 

^ Lane. 

(After a pause, closes his watch and looks up.) 

Twenty seconds flat, young man. 



92 PUTTING IT OVER 

Eva Lou. 
{Turns, startled.) 
Father! {Breaks away and rushes up to the win- 
dow, where she stands looking out and arranging 

her hair.) 

Lane. 

I thought I'd wait around. I knew you'd have to 

come up for air. {Rising.^ Well, young man, what 

does this mean.f^ ^ 

Stewart. 

{Confused.) 

Why, ah— Why, ah— Why, ah— 

Lane. 
{Mimicing.) 
"Why ah — Why, ah — Why, ah." Your conver- 
sation sounds Hke a phonograph record with a crack 
in it. Can't you answer my question .f* 

Stewart. 
( Confused. ) 
What is it you want to know.? 

Lane. 
I want to know what it was you were doing .^^ 

Stewart. 

You had a good look at us. What do you think 

I was doinej? 

Lane. 

From where I sat it looked like you were kissing 

my daughter. 



Stewart. 
{Smiling.) 
Let us proceed on that assumption. 

Lane. 
{Loudly.) 
We will. Young fellow, I^ 



PUTTING IT OVER 93 

Eva Lou. 
{Coming down stage.) 
Now, dad, don't say anything stupid. 

Lane. 

That will be about all from you. I'll attend to 
you later. 

(Eva Lou goes bach up stage.) 

Stewart. 

The fact of the matter is, I love Eva, and she 

loves me — ^ 

Lane. 

( Interrupting. ) 

Well, it looks like an even break so far. Go on. 

Stewart. 
I know I don't amount to anything, but — 

Lane. 
Oh, I don't know. With practice you might make 
a pretty good hat-rack. 

Eva Lou. 

{Coming down stage quickly.) 

Oh, give me that ridiculous thing. {Takes hat 

off Stewart's arm.) Father, why do you make it so 

hard for Tom to say what he wants to say? You 

know he has a retiring disposition, and — 

Lane. 

Retiring disposition? Who? Him? Sure he has. 
He's a regular shrinking violet in the delL 

Eva Lou. 
{Angrili/.) 
Will you please let him speak? 

Lane. 

Who's stopping him? Let him speak. If he's got 



94 PUTTING IT OVER 

anything to say, let him say it. Get down to tacks. 
Talk business. 

bTEWART. 

(Determined.) 
I will talk business. (Puts his arms about Eva 
Lou.) Eva and I as a committee of two have gone 
into executive session and decided to form a joint 
stock company, to be incorporated under the name 
of "Mutual Love and Benefit Society," strictly lim- 
ited. Do you follow me? 

Lane. 

Perfectly. 

Stewart. 

What do you say.? 

Lane. 
As this is a business proposition, and as I will 
probably be expected to subscribe, you will have no 
objection to my looking into your commercial stand- 
ing. I don't suppose I'll find you rated in Brad- 
street or Dun? 

Stewart. 

Hardly. Fortunately, however, I have a list of 
my assets here. Bolton made it out to-day. (Hands 
paper to Lane.) 

(Takes paper, puts on his glasses and reads.) 

"Due"— Huh. "Drawn"— Huh. "Balance due, 

five hundred fifty dollars." Is that everything you 

own ? ^ 

Stewart. 

Well, not exactly everything. 

Lane. 

No.? ^ 

Stewart. 

I have another suit besides this one — and a watch 

— and a pair of gold cufF links. 



PUTTING IT OVER 95 

Lane. 
Stop. It's too much. (Puts his hand to his 
head and goes left and sits down.) Five hundred and 
fifty dollars. Browne, there is one thing you have 
that you forgot to mention. 

Stewart. 

What's that? 

Lane. 

You've got your nerve. Don't overlook that. 

With your ner^^e and my daughter, you ought to do 

well — pretty well — „ 

^ "^ Stewart. 

Yes. That's w^hat we thought. 

Eva Lou. 
Are you going to give us your blessing, dad.^^ 

Lane. 
(Rising.) 
Yes, Eva. (Goes to her and smoothes her hair.) 
And I hope you and this young man will be as happy 
as your mother and I were. (To Stewart.) I like 
3^ou, Browne. I think that you are on the level. You 
were a pretty rotten proposition when you first came 
here, but I believe you're a changed man. 

Stewart. 

I am. -r 

Lane. 

As for money, that never cut much of a figure 

with me. But I'm free to say I wouldn't be in your 

boots for a barrel of gilt-edge bonds when Aunt Jule 

hears about this. „ 

Stewart. 

Think she'll give me a run for my money .^^ 

Lane. 

Just wait. 



96 PUTTING IT OVER 

Eva Lou. 
We had an idea— that is, I had an idea — that 
maj^be you would tell her, dad. 

Lane. 
Huh. I've got six ideas, all better than that. 

Eva Lou. 
Ah, please, father. 

Lane. 
No ; not for a million dollars. 

Eva Lou. 
But you'll be on our side. You'll help, won't 

^ * Lane. 

Yes, I'll help. She's in there now. Tell you what, 

Browne, we'll tackle her together. You go in and 

tell her, and I'll stay out here and pray. (Laughs.) 

Well, when it's all said and done, it's our affair. If 

Eva marries you, she'll have to put up with you, and 

I'll have to put up for you. So it's none of her 

business. „ t 

Eva Lou. 

I know what we'll do. We'll announce the engage- 
ment without saying anything to her. Then she 
can't break it off without causing talk, and I know 
she won't risk a scandal. 

Lane. 
I believe you've hit the right idea, Eva. 

Stewart. 
You have to give dinners or something when you 
announce an engagement. 

Lane. 
Dinner, nothing. You go around and meet folks 
and just announce it. Tell 'em — 



PUTTING IT OVER 97 

Lannon and Torrence enter from Contractor's of- 
fice at right. 

Lane. 
Now's as good a time to start as slyij. Lannon, 
jou and your girl are just in time. You know we 
were talking about Browne getting married. Well, 
I've a surprise for you. No use keeping it a secret. 
It's one of my prerogatives — 

TORRENCE. 

(Crossing quickly to Stewart.) 
Oh, Tom! How could you? 

Eva Lou. 

(Startled.) 

"Tom.?" -r 

Lane. 

(Trying to continue.) 

Prerogatives — ™ 

^ iORRENCE. 

And you promised you wouldn't tell till I gave 

you permission. ^ 

-^ ^ Stewart. 

(Startled.) 

TORRENCE. 

(Aggrieved.) 
1 haven't told father, yet; and then to have this 
man bawl it out from the housetops. 

Lane. 
Prerog — Say, what's going on here.^^ 

ToRRENCE. 

Mr. Lane, since half the world apparently knows 
what I thought was a secret, I would prefer to tell 
father myself. Daddy, I'm sorry and I hope you 



98 PUTTING IT OVER 

will forgive me. This is my husband. (Takes Stew- 
art's arm.) 

(The following four exclamations are all given 

at one time.) ^ 

^ Lane. 

What's that? 

Lannon. 

Torrence ! ^ 

bTEWART. 

Huh.? ^ ^ 

JliVA Lou. 

Her husband? (Shrinks away.) 

Torrence. 
Yes, father. Six weeks ago to-day we were mar- 
ried. . 

All. 

Married ! 

Aunt Jule hounds in from Company office at left. 

Aunt Jule. 
Married? Who's married? 

Lane. 
Why, the girl is out of her head. 

Lannon. 
Is this the truth? 

Torrence. 
Yes, dad. We met in Kansas City and were mar- 
ried three days before I went abroad. 

Eva Lou. 
It's a monstrous lie ! 

Lane. 
I tell you, the girl is crazy ! 

Lannon. 
See here. Lane. That makes twice you have said 
that. Of course, the fact that she has married this 



PUTTING IT OVER 99 

man shows that she is weak mentally, but there is no 

occasion to rub it in. ^ 

Lane. 

But it is impossible that she can be married to 

Browne ! ^ 

Lannon. 

Why impossible.^ 

-^ ^ Lane. 

Because — confound it, sir^Browne has just pro- 
posed marriage to my daughter. 

Lannon. 

Your daughter .? 

Lane. 

Certainly, my daughter. 

Eva Lou. 
And what is more, he has been accepted. And I 
must say, Torrence, if this is a practical joke you 
are carrying it too far. 

Torrence. 
(^Indignantly.) 
lam married to him, and it is no joke. Why, 
I told you about it not fifteen minutes ago. 

Eva Lou. 
You said you were married, but you didn't say to 
whom, _, 

lORRENCE. 

I said you knew the man. 

Lannon. 
I guess, she didn't know him as well then as she 

does now. _ _ 

Eva Lou. 

It can't be true! I won't believe it! And if it 

isn't, I'll never forgive you ! And I'll never forgive 

you if it is, either! {Turns to Stewart.) 



100 PUTTING IT OVER 

Lane. 

Don't let us have any more arguments. One thing 

is reasonably sure. If this woman — (Indicating 

TORRENCE. ) „ 

^ iORRENCE. 

(Icily.) 
Refer to me as Mrs. Browne, please. 

Lane. 
Well, then, if Mrs. Browne is married to Mr. 
Browne, Mr. Browne probably knows about it. (To 
Stewart.) Speak up! Don't stand there giving 
your justly-celebrated imitation of an oyster. You've 
got your mouth open. Say something! 

Stewart. 

(Acts embarrassed and clears his throat.) 

Ahem ! 

Lane. 

Well, we're waiting. Have you nothing to say? 

Stewart. 
Nothing I can think of just now, unless some one 
— er — will introduce me to my wife. 

ToRRE:^JCE. 
Don't joke, dear. Tell them the truth. This is 
very embarrassing for me. 

Stewart. 
( Grimly. ) 
Yes, I know. It's very embarrassing for me, too. 

Lane. 
You had better think of something to say, young- 
fellow. This thing is up to you to explain. 

Stewart. 
(To Torrence.) 
If you please (gently removes her hand from his 



PUTTING IT OVER m 

arm), if I have to explain this, I expect I will need 
both my arms. (Addressing all.) Circumstances 
would seem to have conspired — er — rather — com- 
bined — to prove that I am more or less — er — mar- 
ried. However, I think that I can elucidate — er — 
rather — explain the matter satisfactorily. The 
whole thing in a knot-shell — er — rather — nut-hole — 

Hans it, I mean — 

^ Lane. • 

(Interrupting.) 

"Knot-hole." Great salt mackerel ! "Knot-hole" 

is what you ^are trying to say. 

Stewart. 
(With dignity.) 
Pardon me, Mr. Lane. "Nut-shell" is what I was 
trying to say. The whole thing in a nut-shell is 
mistaken identity. „ 

iORRENCE. 

(Amazed.) 

Stewart. 
The young lady is partly right in what she says. 
When she calls herself Mrs. Browne, she is entirely 
right, she having changed her name when she mar- 
ried. 

(Eva Lou covers her face with her hands and turns 
away. ) 

Lane. 
(Ominously,) 
Browne, if you have — 

Stewart. 
(HoldiJig up his hand.) 
But, when she refers to me as Browne, she. is 
wrong. 



102 PUTTING IT OVER 

Lannon. 

(Sarcastically.) 
You having changed your name when you mar- 
ried, j^ 

Stewart. 

No ; before I married. That is, before it is said 
that I married. There are several grave reasons 
why I cannot be more explicit in regard — er — this 
matter. ' 

L.ANE. 

Lannon, in business circles you have the reputation 
of being a cool, clear-headed man. 

Lannon. 
(Curtly.) 
Thanks. L^^^ 

I ask you, man to man, can you make head or tail 
out of what that idiot is saying.? 
Lannon. 
I cannot. m 

lORRENCE. 

You have confused the poor boy. He doesn't 
know what he is saying. What's it all about, 
anyway.? Goodness gracious, don't you suppose I 
know whether we were married or not.? I tell you 
again, we are married, and we love each other de- 
votedly. Why, just a little while ago, in this very 
room Eva Lou nearly caught us kissing and hugging 
each other. Didn't she Tom.? 
Stewart. 

Eva Lou. 
(Crossing and taking Stewart's arm.) 
Is this true? Stewart. 

( Confused. ) 
Well — in a way. 



PUTTING IT OVER 103 

Eva Lou. 

Is it true? {She shakes his arm. Torrence pulls 

slightly at his other arm. This business must not he 

exaf^s^erated. ) ^ 

°° ^ Stewart. 

She kissed — that is — there were some kisses ex- 
changed. Not many — three, to be exact. 

Eva Lou. 
Then it i s true. You are married. Oh, the 
shame of it! {Crosses left.) 

Lane. 

Browne, you scoandrel, do you mean to say you 

kissed this mrl? ^ 

° Lannon. 

Hold on, Lane. I don't like the attitude you are 
taking. There is no law, legal or ethical, that pro- 
hibits husband and wife kissing if they feel like it. 
It is done by some of our best people. 

Lane. 

But you don't understand. Not ten minutes ago 
he was kissing my daughter! 

Eva Lou. 

Father! ^ 

Lannon. 

{Amazed.) 

Your daughter? ^ 

^ Lane. 

Certainly, my daughter. 

Aunt Jule. 

{Coming center and shoving Lane and Stewart 

aside. ) 

I've heard enough of this. What's the matter 

with all of you? Have you lost your reason? Can't 

you see this man is not married? 



104 PUTTING IT OVER 

Lane. 

(Crossly.) 

You keep out of it. What do you know about it, 

anyway? . ^ 

'^ '^ Aunt Jule. 

I don't know anything, but I have good common- 
sense. Do you suppose I married and buried three 
husbands without being able to tell a married man 
when I see one.? _^ 

lORRENCE. 

(Cuttingli/.) 
Really, Mrs. Lane-Turner, although I can't boast 
of having your vast experience in dealing with hus- 
bands wholesale, I trust you will permit me to know 
my own husband when I see him. 

Aunt Jule. 

Huh ! What you need is a good spanking. 

(Turning to Eva Lou.) And you, Lou Lane, I've 

a good mind to shake you. Haven't you any spunk 

about you.P Don't you see this woman is trying to 

steal your man.? ^ _ 

-^ Eva Lou. 

What do you expect me to do.? Fight.? 

Aunt Jule. 
You'd better fight. For if you lose him, j^ou'll 
lose the only man you ever knew w^ho was worth the 
snap of my finger ! 

(Aghast.) 
Well, I'll be hanged ! (Sinks in chair left of table 
and holds his head.) 

Eva Lou. 
If she has any claim on him, she can have him. 

Aunt Jule. 
Claim? Don't you see that Phil Lannon and his 



PUTTING IT OVER 105 

f^irl are scheming to get the only eligible man in 
town away from you? 

Lannon. 
(^Coming center, furiously.) 
Mrs. Turner, if you were a man I'd knock you 
down. . T 

AUNT JULE. 

Mr. Lannon, if I were a man you couldn't do it. 
And hang me if I think you can do it at that. 

Lane. 
(Rising and coming down between Lannon and 

Aunt Jule.) 
Here, here. We'll never arrive anywhere by these 
roughhouse methods. Let us observe parliamentary 
rules. The young lady in the green dress claims 
she is married to the young gentleman, who is now 
giving a correct impersonation of a startled faw^n. 
One word from him will settle the v/hole matter. Let 
us hear from you Browne, pro or con. But let me 
warn you in advance, we have had about all the con 
we are going to stand for. 

Bolton enters from Engineer's office, 

Ste^vart. 
I tried to explain, but you wouldn't understand. 
I am an imposter. My name is not — 

Bolton. 
{Imperatively.) 
Mr. Browne. (Crosses to center.) 

Stewart. 
( Turning. ) 
Oh, there's Bolton. He will explain. Bolton at- 
tends to all minor details not directly connected with 
the works. 



106 PUTTING IT OVER 

Lane. 

This is one detail Bolton will not attend to. It's 

up to you. If you're a man, speak up. If you're a 

sneaking, white-livered hyena, say so and we'll all 

Q-o home. 

° Stewart. 

(Angrily.) 

I will speak out. You people are trying to put 

me in dutch with the only girl I ever loved — and 

I'm not going to keep still any longer. 

Bolton. 
(With respectful insistence.) 
Mr. Browne, I beg of you to keep the matter 
quiet for at least twenty-four hours. 

Stewart. 
Twenty-four hours, nothing! Did you hear this 
woman come hopping in here-f^ Grabs me and calls 
me "husband." This thing is going to be cleared 
up right now, or the first thing I know someone will 
come hopping in and call me "father." 

Bolton. 
Think what it will mean, sir. Think of his moth- 
er. 

Stewart. 

I tell you, I've stood all I'm going to stand. 

Bolton. 
Don't do anything, sir. Think of your own moth- 
er. (Stewart is about to speak, and then turns 

""""^■^ Lake. 

(Sarcastically/.) 
Yes, , Browne, think of your mother. Then think 
of your grandmother. Come, Lou, let's go home. Mr. 



^__ PUTTING IT OVER 107 

Browne has a long line of female relatives to be 

thought of. Besides, it's lunch time. (Goes to cen- 
ter door.) ^ -r 

^ Eva Lou. 

Just a moment. Allow me to congratulate you, 
Mrs. Browne. And if he has any more wives, allow 
me to congratulate them, too. 

TOKRENCE. 

{In a rage.) 
If you ever dare speak to me again, or look as if 
you are going to, I'll have you put in jail! (Eva 
Lou and Aunt Jule go out center and right.) 

Lane. 
' Yes. And Mrs. Browne, if you don't want to lose 
your husband, you had better put his name on his 
collar. {Strides out center and right.) 

(Bolton crosses quietly to Stewart's office up 
right, where he stands hy the door until curtain. 
Lannon crosses between Stewart and Torrence 
to the door of his own office down right, turns, looks 
at Stewart and Torrence and shakes his head.) 

Lannon. 
( Exclaims disgustedly. ) 
Aw! {Exits angrily into his office.) 

Torrence. 
{Thinking that they are alone, tiirns and goes cen- 
ter to Stewart.) 
Alone, at last. Kiss me, Tom. {Tries to put her 
arms around Stewart's neck.) 

Stewart. 

{Quietly restraining her and gently pushing her 

away, with a movement of his head that calls 

her attention to Boltox's presence.) 



108 PUTTING IT OVER 



Bolton attends to all minor details not directly 
connected with the works. 

(ToRRENCE turns and sees Bolton, who is stand- 
ing rigidly at attention and staring straight ahead, 
for—) 

Curtain. 



PUTTING IT OVER 



The Third Act. 

Scene: Same as the Second Act, the following 
morning. The walls are hung with flags and hunt- 
ing. On the table at the right a telegraph key and 
sounder have been rigged up, with an installation 
that is obviously temporary. An electric buzzer is at- 
tached to the rear wall. 

When the curtain rises Bolton is sitting at the 
table, adjusting the telegraph equipment. A brass 
band is heard playing off stage. Just as the selec- 
tion is about to stop, Torrence passes by the win- 
dow outside, from the right, enters through the cen- 
ter door and comes down to the table, reaching there 
just as the music stops. 

Torrence. 
Good morning, Bolton. I have just returned 
from Kansas City, from the hospital. 

Bolton. 
Has he recovered.'^ 

Torrence. 
Almost entirely. Bolton, why, oh, why, did you 
not rescue me from that humiliating situation yes- 
terday.'^ -r, 

Bolton. 

There were reasons, Miss — Madam — 

Torrence. 
I'll never be able to look that man in the face. 
What's his name, anyway .^ 

109 



no PUTTING IT OVER 

Bolton. 
Stewart. ™ 

lORRENCE. 

Another thing, Bolton. Do you suppose this Mr. 

Stewart has had the effrontry to read the letters I 

wrote to Tom? „ 

Bolton. 

No. They are here. (Opens table drawer and 

takes out a bundle of pink letters.) Mr. Stewart 

opens all business letters addressed to Mr. Browne, 

but these were carefully put away, unopened. 

TORRENCE. 

How could he tell they were not business letters.? 

Bolton. 

They are pink, and perfumed, and postmarked 

"Paris " 

ToRRENCE. 

I see. Bolton, have you seen father this morning.? 
He said he would call for me at eleven-thirty. 

Bolton. 

It is about that time now. 

ToRRENCE. 

(At window.) 
I'll wait in the office. I could never find him in 
that crowd. (Goes to door of Contractor's office.) 
If you see Mrs. Ring, tell her I am waiting for her. 
(Bolton bows. She comes back and ewtends her 
hand.) Tom and I both thank you for your loy- 
alty, Bolton. -g^^^^^^ 

Thank you, Mrs. Browne, I hope that you and 
your husband will be very happy. 



PUTTING IT OVER 111 

TORRENCE. 

I know we will. (Goes into Contractor's office, 
right.) 

(Bolton closes switch of telegraph Tiey.) 

Eva Lou, Aunt Jule and Lane enter from hack 
right through the center door. All are festively 
dressed. Eva Lou is carrying a large bouquet of 
roses. Lane is suffering from the heat. Bolton 
hows and exits into Engineer's office. 

Eva Lou. 

{Comes down to table and throws her flowers on tlie 

table viciously.) 

How much longer before this fool thing will be 

over ? 

Aunt Jule. 

{Soothingly.) 

Only about half an hour now, dear. 

Lane. 

( Up center. ) 
"Fool thing.?" You arranged the program your- 

Aunt Jule. 
{To Lane.) 

Eva Lou. 
I didn't know it would be so deadly. 

Lane. 

It's the heat. ^ 

Eva Lou. 

It isn't the heat. It's the whole thing. It's silly, 

foolish, idiotic, insane, maddening! 

Aunt Jule. 
{Crosses to Eva Lou.) 
There, there, dear. You must try to be calm. 



self. 
Hush. 



112 PUTTING IT OVER 

You'll have hysterics. Better go into your father's 
office. It's cool and quiet there. Take off your 
shoes and lie down on the couch. I'll call you in 
time to give the signal. 

Eva Lou. 
Oh fiddle! My heart is breaking and you talk 
about taking off my shoes. 

Lane. 
What's the matter with you, anyway.? Half an 
hour ago you were riding along in the governor's 
carriage, bowing and smiling like a lovely Queen of 
the May. Now look at you. 

Eva Lou. 
(Goes to the table and sits with her elbows on the 
table, chin on hands and face to the audience.) 
Yes, I was riding along in the governor's car- 
riage. I was bowing and smiling. And all the 
time the devilish band was trailing along behind me, 
and playing "Where is Browne?" {Lays her arms 
on the table and buries her face in her arms.) 

Lane. 

{After an outburst of hearty laughter.) 
Gad! I didn't get that one. {To Aunt Jule.) 
Say, a man misses a lot by not having a musical edu- 
cation, doesn't he.? 

Aunt Jule. 
Dave Lane, I'm ashamed of you. How you can 
sit there and laugh, when you know your daughter 
is breaking her heart about that man, is more than 

I can understand. ^ 

Lane. 

Hang it all, Jule, I'm as sorry about that as you 

are. But you don't suppose I'm going through the 



PUTTING IT OVER 113 

rest of my life without laughing? Do you expect 
me to join the monks and live in a monkery? 

Aunt Jule. 
You probably mean a monastery. 

Lane. 
You women seem to think that I'm to blame be- 
cause this Browne fellow has the wife habit. 

Eva Lou. 
Oh! (Rises and crosses to left, her teeth and 
hands clinched.) 

Aunt Jule. 

Will you 'hush ? 

-^ Lane. 

The more I think about that seoundrel's actions, 

the madder I get. I tell you, he's a bad egg. It's 

lucky we found him out in time, the young black- 

S^'*'''^' E.aLou. 

(Crosses center to Lane; speaks hotly.) 
How dare you! How dare you sit there and say 
things you know aren't true ? He isn't a black- 
guard. He isn't a bad ^gg. He isn't any of 
the things you said. He isn't, I tell you. He's 
good ! He's fine ! He's noble ! He's lovely ! 

Lane. 

"Lovely?" ^ ^ 

-^ Eva Lou. 

Oh, it's shameful of you to say such things about 
him when he isn't here to defend himself. You're all 
against him. It's a plot. You're all helping that 
woman steal him away from me. You can separate 
us, but you can't keep me from loving him. I do 
love him. I don't care if he has a wife, I love him. 



m PUTTING IT OVER 

I don't care if he has forty wives, a hundred thou- 
sand and a million, billion wives, I love him. Do 
you hear me ? I love him ! I love him ! Love him ! 
Love him ! (Stamps her foot each time, and then 
crosses dozen left, crying.) 

Lane. 
(Aghast.) 
There's a temper for you. 

Aunt Jule. 
You see.? She takes after her father. 

Lane. 
Yes, and you'll see her father take after her in a 
minute, if she keeps this up. 

Stewart enters from back right and center. He 
is carefully dressed, but is carrying a bucket full 
of sand, and a small trowel. 

Lane. 

Here's the lovely man, now. Well, what do you 

want ? c^ 

Stewart. 

I want a few minutes of your earnest considera- 
tion. T 

Lane. 

I don't care to talk to you. 

Stewart. 
The matter is urgent — vital — 

Lane. 
I repeat- Stewart. 

(Places pail on table.) 
I insist that you put aside personalities. What I 
have to say is of the utmost importance. 



PUTTING IT OVER U5 

Lane. 
Very well. Go ahead. 

(Eva Lou crosses to left door as if about to exit.) 

Stewart. 
{Crosses quicMy to Eva Lou.) 
Miss Lane, I wish you would remain. I — 

Eva Lou. 
{Haughtily.) 

Stewart. 

{Makes a gesture of resignation, and returns to the 

table.) 

Colonel, take a look at that stuff. {Points to 

table.) -r 

^ Lane. 

{Goes to table and lifts up sand on trowel.) 

Huh.? What's the important matter.!^ Mud pies.? 

What's this stuff, anyway.'^ 

Stewart. 
It's supposed to be high grade Portland cement. 

Lane. 
Supposed to be.? What is it.? 

Stewart. 
I don't know. It isn't marl, at any rate. There 
is about sixty thousand cubic yards of that stuff 
used in the dam, and it is absolutely worthless. 

Lane. 

"Worthless.?" What do you mean.? Explain 

yourself. ci 

-^ Stewart. 

This material has most of the cement properties. 

After it dries out it hardens. But when it is exposed 

to water again, it dissolves — melts away. 



116 PUTTING IT OVER 



Lane. 

In plain, two-legged words, what are you trying 

to tell me? ^ 

Stewart. 

I am trying to tell you that the dam is not stable. 

It's rotten, and it will break down under a minimum 

head. ., 

L.ANE. 

(Striking table.) 

I don't believe it ! ^ 

Stewart. 

(Seriously.) 

It's so, just the same. 

Lane. 

Then who is responsible for this condition of 

things.? You were supposed to pass on all material. 

Stewart. 
I never personally inspected one ounce of cement. 

Lane. 

But Lannon has the vouchers, signed with your 

initials. „ 

Stewart. 

I know he has. ^ 

Lane. 

Then, sir, you are a criminal; a plain crook. 

Stewart. 
We will discuss that phase of the question later. 

Lane. 
How do you know this stuff was used.? 

Stewart. 
Macintosh found a half-barrel of it covered up in 
a shed where the cement was formerly stored. 
Lane. 
Could you stand before a court of inquiry and 
swear that this grade of cement was used.? 



PUTTING IT OVER 117 

Stewart. 

No ; of course not. 

Lane. 

That's what I thought. You have discovered a 

mare's nest. ^ 

Stewart. 

{Urgently.) 

I insist that you postpone the opening of the 

water gates till we have had time to look into the 

matter. ^ 

Lane. 

Nonsense. We can't alter the program at this late 

hour. How are you going to prove your theory, 

anyway ? 

STEWART. 

There is only one way to prove it ; tear down the 

superstructure. ^ 

^ Lane. 

What.'^ Tear down the — {Sits.) Do you sup- 
pose I would be a party to such insanity .f^ We'd be 
the joke of the century. We'd be known through- 
out the ages as the men who built a dam, then tore it 
down again to see if it was strong enough. 

Stewart. 
We won't make that an issue. But I am going on 
record, here and now, as protesting against the gates 
being opened to-day. ^ 

All right. That lets jo\x out. Your skirts are 

clear. But the gates will be opened as scheduled, 

iust the same. „ 

•^ Stewart. 

{Impresswely.) 
There are thousands of people out there, now; 
hundreds of them actually on the dam. Whoever re- 
leases the water is guilty of manslaughter ; no, plain 
murder. Colonel, those gates will not be opened. 



m PUTTING IT OVER 

Lane. 
The hell they won't. I'm boss here, and I'm too 
old to be frightened by bogies. 

Stewart. 
If you turn the water on, the dam is doomed. 

Lane. 
(Out of temper.) 
Then let the dam be doomed. 

Stewart. 
■ You will regret it. 

I say, let the dam be doomed ! 

Aunt Jule. 

(Coming center.) 

Dave Lane, you must be crazy. This young man 

tells you hundreds of people are in danger of their 

lives, and all you can do is stand there and yell, "let 

the doom be damned!" 

Eva Lou. 
Mr. Browne, if what you say is true, there must 
be some way of proving it without tearing down the 
dam. Someone must know about the cement. 

Stewart. 

Of course. Lannon knows. He ought to. He's 

cleared about a hundred thousand dollars on the 

transaction. t 

Lane. 

You'd better not let Lannon hear you say that. 

He'd institute an action for libel and take your five 

hundred and fifty dollars away from you. 

Eva Lou. 
Couldn't he be made to confess.? 



PUTTING IT OVER 119 

Stewart. 
I don't see how. We can hardly give him the third 
degree. Anyway, nothing but red-hot pinchers 
would make him give himself away. 

Eva Lou. 
There must be some way to reach him. 

ToRRENCE enters from Contractor's office, 

TORRENCE. 

I beg your pardon. I thought perhaps my father 
was here. You haven't seen him.'' 

Stewart. 
No, Miss — Mrs. I haven't seen him. 

Torrence. 
It's very odd. He promised to call for Mrs. Ring 
and me at half-past eleven. Mrs. Ring has not ar- 
rived, either. {Exits into Contractor's office.) 

Stewart. 
{After a pause.) 
There's the answer to your question. There is the 
one and only way to reach Lannon. 

Eva Lou. 
You mean — ? 

STEWART. 

Through his daughter. {After a pause.) The 
Ring ranch is in the gorge below the dam, isn't it.^^ 

AuxT JULE. 
Yes, it's about a mile below Cinnamon Butte. 

Stewart. 
Colonel Lane, if you actually heard Lannon con- 
fess that he had substituted a low grade of cement 
in the construction of the dam, what action would 
you take.? 



120 PUTTING IT OVER 

Lane. 
I'd postpone the opening, of course, and start an 
investigation. I'm not as bull-headed as you people 
seem to think I am. 

Stewart. 
Miss Lane, if it would save your father from finan- 
cial ruin, could you tell a bare-faced lie plausibly, 

and stick to it.^ ^ ^ 

LvA Lou. 

If it is for father, I will do my best. 

Stewart. 
Very well. (Calling.) Bolton. 

Bolton enters from Engineer's office. 

Stewart. 
Find Mr. Lannon. Tell him he is wanted here 
immediately. 

(Bolton nods and exits center door and right.) 

Stewart. 
Are you with me on this, Mrs. Turner.? 

Aunt Jule. 

Of course I am. ^ 

Stewart. 

Then go into Lannon's office and keep his daugh- 
ter from entering this room within the next ten 

minutes. . -r 

Aunt Jule. 

How can I prevent her.^^ 

Stewart. 
Engage her in conversation. Talk about some- 
thing interesting. ^^^ ^^^ 

{Sarcastically.) 
Yes. Talk about Mr. Browne. That will be in- 
teresting to her. 



PUT TING IT OVER 121 

Aunt Jule. 
{Emphatically .) 
If talking will keep her {crosses to right) she's 
kept. {Exits into Contractor's office.) 
Lane. 
Now, young fellow, I've had enough of this mys- 
tery. 

•^ ' Stewart. 

All I ask is ten minutes. If I don't prove my 
point in tjiat time, I will make no further objection 
to the opening of the gates. 
Lane. 

All right; ten minutes. {Looks at his watch and 
crosses left.) „ 

bTEWART. 

I'll join you in your office, colonel, 

(Lane goes into his office at left.) 
Eva Lou. 
Tell me what I am to do. 

Stewart. 
Very well. The stage is set. This is the scenario. 
Lannon will come here. You must prevent him from 
entering his office. Don't let him see his daughter. 
Tell him she has gone to see Mrs. Ring, and that she 
is on the trail below the dam. Tell him you are 
just about to give the signal to the gateman. If he 
thinks the dam is sound, no harm is done. If he has 
reason to believe the dam is not sound, he'll try to 
prevent your sending the signal. Vi^e will be in your 
father's office. The door will be open. Do you un- 
derstand.^ T^ T 

hi\A Lou. 

Perfectly. {Nervously.) It is rather horrible, 
isn't li? The rest of my life I will probably feel as 
Judas must have felt. 



122 PUTTING IT OVER 

Stewart. 
The lives of many people may depend on your 
action. Besides, there is the money involved. 

Eva Lou. 
Of course we must consider the thirty pieces of 
silver. 

Bolton enters from hack right through center door. 

Bolton. 
Mr. Lannon is coming. ^ 

(Eva Lou crosses to the window.) 

Stewart. 
Bolton, for the next half hour you are to take 
your orders from Miss Lane. Do you understand.'^ 

Bolton. 
Yes. {Exits right into Engineer's office.) 

Eva Lou. 

Hurry ! ^ 

*" Stewart. 

I'm going. It's up to you. {Exits left into Com- 
pany's office.) 

(Eva Lou crosses down left.) 

Lannon enters from hack right, through center 

door. 

LANIfON. 

Good morning, Miss Lane. 

Eva Lou. 
Good morning, Mr. Lannon. (Lannon crosses 
toward his office door. ) Mr. Lannon, I — I — 

Lannon. 
( Turning. ) 

Yes.? 



PUTTING IT OVER 123 

Eva Lou. 
(Coming center.) 
You haven't seen my flowers. Aren't they beau- 
tiful.? 

Lannon. 

(Coming center.) 
They are beautiful. 

Eva Lou. 
The governor presented them to me. Wasn't that 
nice of him.'' And don't you think him a good gov- 
ernor.? ^ 

Lannon. 

Yes, indeed; first class. Ought to be. Cost me 
enough. If the newspapers are to be believed. 
(Turns toward his door.) 

Eva Lou. 

Oh, but they are not to be believed. They are 

always "saying you are a very bad man, and I am 

sure you are not. ^ 

Lannon. 

(Returning.) 

Very few men are altogether bad, and no man 

is altogether good. One's virtues and vices seem to 

run in streaks, like fat and lean in a side of bacon. 

Eva Lou. 
What time is it, please.? 

Lannon. 
(Looking at his watch.) 
Two minutes to twelve. 

Eva Lou. 
Just two minutes. (Goes to table.) I must be 
ready. You know I am to telegraph the signal for 
the opening of the gates. Isn't that an honor.? 



124 PUTTING IT OVER 

i — — — — ' — — 

Lannon. 
It will be something to tell your grandchildren. 

Eva Lou. 
I hope there won't be an accident. 

Lannon. 

Accident? _, 

Eva Lou. 

Nothing wrong with the dam. 

Lannon. 
What could be wrong with the dam.^* 

Eva Lou. 

Nothing, of course, with two such men as you 

and Mr. Browne to vouch for it. It must be a very 

marvel of stability. -^ 

Lannon. 

I am afraid Mr. Browne will have to be the sole 

sponsor. My responsibility ended when the material 

was delivered and O. K'd. 

Eva Lou. 
It is foolish, of course, but I have an uneasy feel- 
ing, Mr. Lannon. Are you superstitious? 

Lannon. 
Of course. All people are, more or less. 

Eva Lou. 
Then you believe in dreams? 

Lannon. 

P^'-'^^P^- Eva Lou. 

I had a terrible dream last night, and I have been 
nervous and depressed all morning on account of it. 



PUTTING IT OVER 125 



Lannon. 

What was it? „ -^ 

Ji-VA Lou. 

I dreamed I saw the body of a drowned woman 
floating in the river. A sodden, clammy thing, with 
staring eyes. Dark, matted hair, and a face livid 
and swollen — distorted, hideous — it came drifting, 
drifting along ; at times, almost submerged ; whirl- 
ing and bobbing in every chance eddy; making stiff, 
uncouth gestures, as the current swayed it this way 
and that. Then I dreamed you came and stood, on 
the bank opposite me, and held out your arms to the 
drowned girl. Then a horrible thing happened. The 
dead eyes turned reproachfully toward you. A dead 
hand pointed accusingly at you. The dead lips 
parted, and I heard 'a voice wailing, "Father! Fa- 
ther ! You have killed me !" Then at last I knew it 
was Torrence. 

Lannon. 
(Wiping his forehead with his handkerchief.) 

My God ! 

(Band plays off stage. Note: Use phonograph, 
zvith lively march tune. Let the record play all the 
way through.) 

Eva Lou. 
{Jumping up and running to the window.) 
There is the band. The dedication is over. Now 
for the signal. I am as excited as I was when I tried 
on my first long dress. 

Lannon. 

{Uneasily.) 
Torrence was to have waited here for me. I won- 
der where she can be. {Goes toward his office door 
at right.) 



126 PUTTING IT OVER 

Eva Lou. 
(Coming back to center.) 
Why, didn't you know? She was here, but she 
started out to meet Mrs. Ring. 

Lannon. 

Started to meet her? 

Eva Lou. 
Yes, she took the Double-0 trail. 

Lannon. 

(Stunned.) 

Torrence in the gorge? Do you know what you 

are saying? „ ^ 

-^ ^ Eva Lou. 

(Innocently.) 

Why, yes. Perhaps you can still see her. (Goes 

to the window.) No, I guess she must have passed 

Cinnamon Butte. ^ 

Lannon. 

(At window.) 

She is a mile down the gorge. 

(Buzzer on wall sounds. Eva Lou runs to the 

table and puts her hand on the telegraph key.) 

Lannon. 

( Turning. ) 

Don't touch that key! (Eva Lou looks over her 

shoulder in apparent surprise. Her hand is still on 

the key.) Don't touch that key! (Takes Eva Lou 

by her shoulder and throws her toward left.) 

Eva Lou. 
Mr. Lannon! How dare you! 

Lannon. 
You must not give that signal. It is a matter of 
life and death! 



PUTTING IT OVER 127 

Eva Lou. 

Whose life? 

Lannon. 

My ffirl's life. ^ 

^ ^ Eva Lou. 

Torrence ? Ridiculous ! 

Lannon. 
She's in the gorge. If anything should happen to 
the dam she would never escape. 

Eva Lou. 

What could happen to the dam? Stand aside, 

please. _ 

Lannon. 

No. ^ r 

Eva Lou. 

You understand, of course, that the signal is mere- 
ly a matter of form; a courtesy to me. The man 
will open the gates, whether he gets a signal or not. 

Lannon. 

(Crossing to Eva Lou.) 
Are you lying? ^^^ ^^^_ 

This is outrageous ! You will have to — ■ 

, Lannon. 

(In a frenzy.) 
Where's Bolton? (Calling,) Bolton! Bolton! 
(Rushes toward Engineer's office, right.) 

Bolton enters from Engineers office, confronting 
Lannon. 

Bolton. 

Did you call? _. 

Lannon. 

Quick, Bolton. Get the sluice gate on the wire. 

Tell him not to open it. 



128 PUTTING IT OVER ^_ 

Bolton. 
But, Lannon — _.- 

LrANNON. 

For God's sake, hurry man ! Wire first and argue 

afterwards. „ 

Bolton. 

All right. (Goes to key.) 

Eva Lou. 
Mr. Bolton, don't touch that key. 

(Bolton hesitates.) 

Lannon. 
Go on, man. Never mind her. 

Eva Lou. 
Mr. Bolton, tell this man the instructions Mr. 
Browne gave you a few minutes ago. 
Bolton. 
I was to take my orders from Miss Lane. 

Lannon. 
But this is an exceptional case — a matter of life 
and death, I tell you. 

Bolton. 
Not without Miss Lane's permission. 

Lannon. 

{Throwing his wallet on the table.) 

There is more money than you will accumulate in 

a lifetime. It's yours if you send this message. Will 

you do it.f^ ^ 

-^ Bolton. 

Lannon, you know the money doesn't make the 

slie^htest difference. ._. 

° Lannon. 

(Springing at Bolton and choliing him.) 

You send that message, or you'll never live to send 

another. {Forces Bolton toward right.) 



PUTllNG IT OVER 129 

(Eva Lou rushes to the table and sounds tele- 
graph key^ ''S. G. — S. G." Sounder answers, ''S. G. 

^ Eva Lou. 

Mr. Lannon. (Lannon turns, still holding Bol- 
ton, and sees Eva Lou's hand on the key.) I have 
the gates on the wire. Release that man, or I will 
give the signal. (Lannon releases Bolton.) Bol- 
ton, take the key. (Bolton sits at the table.) Now, 
Mr. Lannon, if you can give me absolute proof that 
your daughter's life is in danger, I will order Mr. 
Ansell to keep the gates closed. 

Lannon. 

{Terrified.) 

She is in danger. I can give no proof. You must 

take my word. „ t 

-^ Eva Lou. 

Why is she in danger.? 

Lannon. 

The dam is weak — rotten. It won't stand under 

hiffh pressure. ^ ^ 

^ ^ Eva Lou. 

Where is it weak? In the construction.'^ 

Lannon. 
No. In the material. 

Eva Lou. 

Be more specific. ^ 

Lannon. 

The cement. There are ten thousand tons of hy-, 

draulic cement in the cribs that is worthless. 

Eva Lou. 
Who is responsible for this state of affairs ? ( Lan- 
non hesitates.) Hurry, please. The water is three 
minutes overdue, now. 



no PUTTING IT OVER 

Lannon. 
I am. {Desperately.) 

Stewart and Lane enter from Company'' s office at 
left. Aunt Jule enters from Contractor's of- 
fice, right. Lannon does not see them. 

Stewart. 

I thought so. That's enough. (Lannon turns 
in surprise. Eva Lou goes left.) Bolton, wire An- 
sell, "Nothing doing." 

(Bolton sends this message: ''S G, S G, S G. 
Keep gate closed till further orders, Browne.*' 
Sounder answers, "0 K, S G.") 

ToRRENCE enters from Contractor's office, down left, 

TORRENCE. 

Father! Father! What is wrong.^^ 

Lannon. 
{Amazed, turns to her.) 
Torrence ! ( Turns and looks at Stewart and 
Eva Lou.) A frame-up! 

(Eva Lou sits at the table, with her hands over her 
face, crying softly.) 

Lannon. 
{After a pause, to Torrence.) 
Wait in the office, dear. I have some business to 
discuss with these gentlemen. 

(Torrence nods her head and eocits into Contrac- 
tor's office, down right.) 

Lannon. 
It was very cleverly planned and worked out. The 
only weak place in my armor. I congratulate you, 
Mr. Browne ; for of course it was your scheme. Miss 



PUTTING IT OVER 131 

Lane is also to be congratulated. She should have 
been christened Delilah. 

Stewaet. 

Oh, come now, Lannon. It was either you or her 

father. t 

Lannon. 

Don't misunderstand me. I'm not kicking. I was 

outgeneraled, that's all. Well, what's it to be — jail 

or compromise? 

Stewart. 

It's up to you. Lane. 

Lane. 
I'm very sorry about this, Lannon ; very sorry. 

Lannon. 
I know. But how sorry? Put a cash value on 
your grief. 

What do you suggest? 

Lannon. 

Well (taking checks from pocket), here are the 

checks you gave me yesterday. Suppose I don't 

present them. That would give you all the material 

— steel, rock and timber — gratis. A clear profit of 

two hundred thousand dollars. Would that cover 

your loss? 

Lane. 

What do you think, Browne? 

Stewart. 
I think it would. Now that we know where the 
trouble is, we can easily remove the present filling 
and pipe a high grade cement into the cribs. 

Lannon. 
That's the idea. And I'll pay the piper — on one 
condition. 



132 PUTTING IT OVER 

Lane. 
And that is — ? ^ 

L<ANNON. 

No one — particularly my daughter — must know_ 
of my part in this affair. 

Stewart. 

That fi^oes for me. 

° Lane. 

Of course. There is nothing to be gained by mak- 
ing it public. 

{Telephone bell rings.) 

Bolton. 

( Taking up receiver. ) 

Yes. * * * Yes. -* * * (Turns to Lane.) The 

governor wants to know what is the trouble. Says 

he pushed the button but there is no sign of water. 

Lane. 

Tell him I will explain the matter personally, in a 

few minutes. _, 

Bolton. 

(At telephone.) 

Mr. Lane will explain the matter in a few minutes. 

(Hangs up receiver.) 

ToRRENCE enters from Contractor's office, down 
right, 

Torrence. 

Well.? 

Lannon. 

Torrence, if you will — 

Torrence. 
I know what you're going to say, dad. And the 
answer is. No. I'm tired of popping out here and 
saying "Coo-coo," and then popping back again. If 
there's any argument, I'm in on it. 



PUTTING IT OVER 133 

Lane. 

You are welcome, madam. And let me take this 
opportunity to apologize for my rudeness yesterday ; 
and to extend my best wishes to you and your good 
husband, here — „ 

TORRENCE. 

(Coolly.) 

This is not my husband. 

Eva Lou. 
(In amazement.) 
What's that.? 

(The others show surprise,) 

Stewart. 
See.? What did I tell you.? 

Lane. 

Not your husband.? He is your husband. He's 
got to be. You said he was. And hang me if — 

Stewart. 
Wait, people. Let's start fair. If we have to go 
all over this again, let's choose sides. 

Lannon. 
Torrence, if you are joking — 

TORRENCE. 

I am not joking. ^^^^ 

Then you mean to say that you are not married 

to Mr. Browne.? „ 

Torrence. 

I am married to Mr. Browne, but — 

Lane. 

You just this minute said you were not. 



134 PUTTING IT OVER 

TORRENCE. 

I did not. I said — 

Aunt Jule. 

You did. You said, "This is not my husband," 

just like that. _ 

•^ Lane. 

I never heard such flapdoodle in all my life. You 

put on a husband just like you would a jacket, and 

you get rid of him just like you would take off an old 

pair of — . _ 

Aunt Jule. 

Dave! ^ 

Lane. 

Gloves ! What's the matter with you ? ( To Aunt 

Jule.) „ 

STEWART. 

I guess I'll have to rap on someone for order. 

Let's settle this thing by arbitration. Bolton, you 

explain it. ^ 

^ Bolton. 

I will, sir, on condition that I may be allowed to 

speak without interruption. 

Lane. 

Go ahead. ^ 

Bolton. 

To begin with, there are two persons principally 
concerned in this affair — Mr. Browne and Mr. Stew- 
art. This is Mr. Stewart. 

(Stewart hows. All express surprise,) 

Lane. 

But— T5 

Bolton. 

(Raising his hand.) ^ 
Please. On April thirteenth Mr. Browne, who 
was chief of construction, left for Kansas City, where 



PUTTING IT OVER 135 



he was married to this young lady. He never came 
back. Mr. Stewart carried on the unfinished work, 
under the name of Browne, and no one but myself 
knew of the chane^e. ., 

° L.ANNON. 

Impossible ! _, 

^ Bolton. 

Not at all. The two men are almost identical in 
looks, voice and manner. The resemblance is mar- 
velous. T 

Lane. 

Wait a minute. I must speak. Do you mean to 
say there is another human being in this world who 
looks, talks and acts like this man? 

B0T.TON. 

Yes. 

Lane. 

I can't believe it. {Goes up stage.) It's too 
much — ^too much! (Stewart stares at him belliger- 
ently.) . T 
^ ^ Aunt Jule. 

It's a remarkable coincidence. 

Lannon. 
But the work. Were they both engineers.'' 

Bolton. 

Yes. 

Lannon. 

That i s a remarkable coincidence. 

Eva Lou. 
Where is Mr. Browne now.? 

Bolton. 
He is in Kansas City, where he has been for the 
past six weeks, raving; out of his mind. 



136 PUTTING IT OVE R 

Lane. 
You say the other man is out of his mind, too? 

Bolton. 

Yes. 

Lane. 

By Gad! That is a remarkable coincidence. 

Bolton. 

He has practically recovered now. He will return 

here shortly. And that, gentlemen, is the history of 

this most remarkable affair. {Exits center door and 

risrht,) ^ 

jLannon. 

(To Stewart.) 

You are not, by any chance, J. J. Stewart of Ann 

Arbor? „ 

Stewart. 

Yes. 

Lannon. 

Then, colonel (to Lane), it is only fair to say 

that this man made the original draAvings for the 

Yuba Valley Dam. Those drawings were stolen from 

him by — ^ 

Stewart. 

(Has till/.) 

We won't go into that. 

Lannon. 

You're a good sport, Stewart. But Browne is a 
member of my family and I'm standing behind him. 
I'll write you a check for the amount of damage — 

Stewart. 
(Quickly.) 
No. Absolutely no ! 



PUTTING IT OVER 137 

Lannon. 
AH right. {Crosses to Torrence.) Just as you 
say. But my motto is, "Our son-in-law, right or 
wrong." Eh, Torry? 

Lannon, let's go. I'm relying on you to salve the 
governor. 

(Lannon and Lane start for center door.) 

Stewart. 
{Taking Lane's arm, and drazmng him down stage.) 
Colonel Lane, I've been a burglar — 

Lane. 
{P idling his arm away.) 
Listen, Browne — or Stewart, or whatever your 
confounded name is. The battle has raged for six- 
and-thirty hours. I've fought a good fight, but I'm 
through. Understand me.^ Through! If you say 
you're a burglar, it goes. If you say you're a Rocky 
Mountain goat, or a two-headed calf, it goes. Y*ou 
can't get an argument out of me. Come on, Lan- 
non. 

(Lane and Lannon exeunt center door and right.) 

Aunt Jule. 
May I congratulate you, Mrs. Browne .^^ 

Torrence. 
{Correcting her.) 
Mrs. Lannon-Browne. 

Aunt Jule. 
Very sensible of you, my dear. Come. I will give 
you some advice concerning husbands. I've had 
three, and feel competent to advise. (Torrence 
and Aunt Jule exeunt into Contractor'' s office.) 



138 PUTTING IT OVER 



Eva Lou. 
(Crossing to Stewart.) 
Cheer up, Tom. 

Stewart. 

(Correcting- her.) 

Jack. 

Eva Lou. 

"Jack" is such a pretty name. 

Stewart. 
How do you like "Stewart"? 

Eva Lou. 
Well enough to take it for my own. 

Stewart. 
You see, I've been a burglar. Not a sure-enough 
burglar. You know, a sort of a — kind of — 

Eva Lou. 
I know. (Sits on the table.) 

Stewart. 

You know.? -^ -r 

Eva Lou. 

Yes. You broke into my life and stole my heart. 

Do you plead guilty or not guilty.'^ 

Stewart. 
(Putting his arms around Eva Lou's shoulders.) 
Guilty, your honor. 

Eva Lou. 
Then you are condemned to be confined in the 
bonds of matrimony for the rest of your natural 
life. Have you anything to say.? 



PUTTING IT OVER 139 

Stewart. 
Not a thing. A Daniel has come to judgment. 
{Tries to kiss Eva Lou, but again her hat is in the 
way.) Take off your hat in court. 

(Eva Lou is removing her hat at — ) 
Curtain. 



Chinese Love 

BY 

Hubert Ropp and McKinley Dirksen 

TWO-ACT PLAY for 6 males and 6 females. Time, 
IVs hours. Scene: 1 interior. 

CHARACTERS. 

Wa Humm A House Servant 

Chung Bau An Evil Character 

Hum Wan Mother of tlie Bridegroom 

Yut See A Street Vender 

Bow Cliang Another 

Kwong Wan The Bridegroom 

Ming Woo A Woman of the Dusk 

Ling Gar Father of the Bride 

Ling Toy Mother of the Bride 

Pan Toy The Bride 

Foy Wong A Maid-in-Waiting 

Sing Loo Lover of Pan Toy 

Originally given as a community high school experi- 
ment at Pekin, 111. This play has been in such de- 
mand that it is now published, with photographs from 
the play and detailed instructions for making scenery 
and costumes. Showing the conflict between old and 
new world customs in a Chinese community in Amer- 
ica, it has its educational side, but it is no less enter- 
taining. Pan Toy's parents have plighted her troth 
at infancy, but her heart goes out to a Chinese of her 
own choice. The struggle between love and duty pro- 
vides a strong plot, and there is plenty of comedy and 
sentiment as well. A worthy vehicle for ambitious 
high schools, dramatic clubs and community centers; 
there is nothing else like it on the market. The 
original presentation was the subject of a feature ar- 
ticle, with illustrations, in "The Theatre Magazine" of 
New York City. 

Professional stage rights reserved and a 
royalty of ten dollars required for am- 
ateur per jormance. Price, Per Copy, 50c. 



T. S. Deiiison & Company, Publishers 

623 S. Wabash Ave. CHICAGO 



The City Feller 

BY 

Lillian Mortimer 

A RURAL COMEDY, in 3 acts; 6 males, 4 females. 
Time, 2 hours. Scenes: 1 exterior, 1 interior. 

CHARACTERS. 

Jim Simpson A Farmer 

Marthy Simpson Jim's Wife 

Lissie Brown An Orphan 

Grandpa Simpson Old but Ambitious 

Auntie Purvis Sally's Mother 

Lemuel Hecker A Small-Town Slicker 

Phil Granger The City Feller 

Sally Hecker Lem's Widowed Mother 

Jeff Biggs The Town Marshal 

Orrin Ruddy The Postmaster 

Lissie is a drudge in the Simpson home and life 
holds little joy for her until Phil, a salesman from 
the city, happens by and wins her heart. After he 
has gone Lissie's faith in him is shaken by the ma- 
licious comments of Lemuel, who is jealous of the city 
feller; Lem's mother Sally, who is an inveterate gossip; 
and Marthy, who thinks well of no one. The unhappy 
girl further incurs the Simpson wrath by aiding in the 
courtship of Grandpa Simpson and Auntie Purvis, a 
sweet, old fashioned couple who are made miserable 
by their domineering children. The slander-mongers 
have just about convinced Lissie and all the rest of 
the village that Phil is a confidence man and a bank 
robber; and Lissie, driven out by Marthy, is about to 
wed Lem in desperation, when the city feller gets back 
to town, takes control of the situation, proves his good 
character, gives Lem a sound thrashing and claims 
the hand of his country sweetheart. The romance of 
the gray-haired couple is one of the most charming 
things ever staged, and the courtship of sharp-tongued 
Sally by the deaf old postmaster is a masterpiece of 
comic conception. This gripping play affords more 
than the usual amount of laughter, and the interest 
is continuous. The characters are all so well drawn 
and the plot so well constructed that an enthusiastic 
reception is assured. 

Projessional stage rights reserved and a 
royalty of ten dollars required for amateur 
performance. Price, Per Copy, 50 Cents. 



T. S. Denison & Company, Publishers 

623 S. Wabash Ave. CHICAGO 



Mother Mine 

BY 

Gladys Ruth Bridgham 



COMEDY of sentiment, in 3 acts; 6 males, 6 females. 
Time, 2 hours. Scene: 1 interior. 

CHARACTERS. 

Cynthia Whitcomb The Deacon's Wife 

Miranda Peasley "Mother Mine" 

Martha Tisdale A Neighbor 

Lettie Holcomb With a Nose for News 

Lillian Whitcomb The Deacon's Daughter 

Mary Tisdale Martha's Daughter 

John Whitcomb The Deacon 

Jack Payson The* Merchant's Son 

Joe Payson The Merchant 

Jerry MacConnell The Newcomer 

Officer Lewis From Boston 

Sam Blunt The Constable 

The entire action takes place in the living room of 
Miranda Peasley's cottage in Tapley Village, Maine. 
When the last of her nieces is married, the dear old 
lady realizes that for the first time in all her life she 
is quite alone in the world. Caring for her sister's 
daughters has never quite satisfied the powerful 
mother-instinct in her heart, and she prays that in 
some way she may find a boy to care for. Jerry, a 
city outcast, breaks into her home to steal, and in this 
she sees an answer to her prayer. How she awakens 
the finer side of his nature, trusts him and defends 
him when all the world seems bent on his ruin, how 
he repays the steadfast devotion of "Mother Mine," 
affords an absorbing story, rich in comedy and with 
many beautiful touches of exalted sentiment. This 
play has a universal appeal, and the cast is well bal- 
anced. 

Price, 35 Cents. 



T* S. Denison & Company, Publishers 

623 S. Wabash Ave. CHICAGO 



Little Miss Jack 

BY 

Lillian Mortimer 

COMEDY-DRAMA in 4 acts; 6 males, 5 females. 
Time, 2 hours. Scenes: 3 interiors. 

CHARACTERS. 

Maggie A Girl of the Bowery 

Jimmie With No Taste for "Woik" 

Julia Trevors Who Has Been a Mother to Jack 

Jacqueline Little Miss Jack 

Doctor Carlyle A Successful Physician 

Paul Sanborn His Assistant 

Neena The Doctor's Adopted Daughter 

Aunt Kathie The Doctor's Sister 

Rider A Social Hanger-On 

Draker A Justice of the Peace 

Jones Of the Police 

Out of the darkness of poverty and suffering, a 
strange whim of circumstances brought Jacqueline into 
her rightful inheritance. But the shadow of grim 
tragedy lurked always behind the bright curtain of 
romance. How many girls would have faced their ene- 
mies with the courage of Little Miss Jack? 

A stirring story of the adventures of a girl, lost to 
her father, found in the slums, brought back to the 
luxurious surroundings of her birthright, and imperiled 
by the attempts of jealous enemies to cause her dis- 
appearance. A play with remarkable appeal, especially 
for audiences demanding strong emotional scenes with 
plenty of hearty comedy. Lively action throughout, 
sustained suspense, and numerous big situations. Its 
popularity on the professional stage is sure to be 
equaled in the amateur field. There are three interior 
settings — a plain tenement room, a fashionable living 
room and an east side hovel. Entirely suitable and 
practical for amateur production. Price, 35 Cents. 



T. S. Denison & Company, Publishers 

623 S. Wabash Ave. CHICAGO 



Fifty^Fifty 

BY 

Frbderick G. Johnson 

A FARCE of love, luck and laughter in 3 acts, by 
the author 'Of "Mary's Millions"; 5 males, 5 fe- 
males. Time, 2}i hours. Scenes: 2 interiors, an attic 
studio and a bungalow. 

CHARACTERS IN THE PLAY. 

Henry Brown An Artist 

Paul Green An Author 

Patrick O'Malley A Janitor 

Smudge A Valet 

Cap' A Wanderer 

Mrs. Podge A Landlady 

Sophie Bland A Dancer 

May Dexter An Enthusiast 

Mrs. Hawley A Collector 

Josephine A Seeker 

If there be a moral to this merry comedy of compli- 
cations, it is that it is possible to get too much of a 
good thing. Paul and Henry are struggling to achieve 
fame and bread-and-butter money in literature and 
art. Utter failure is their lot until one of Henry's 
paintings, accidentally displayed upside down, is enthu- 
siastically purchased by an art collector, and the "im- 
pressionistic painter" becomes the talk of the town. 
Paul, following the hunch, writes his stories backward, 
and success follows swiftly. But some innocent fibs, 
told for reasons of necessity, reach the newspapers, 
and the pals find themselves headed straight for 
trouble. Their love affairs go awry, and in the pre- 
dicaments which follow as a result of their propensity 
for spinning yarns, they find success an empty thing. 
A woman who claims to be Paul's wife, an elusive van- 
ishing painting, a mysterious sea-faring man, a med- 
dling landlady, all contribute to the mixup. Of course 
it all comes out happily. 

Professional stage rights reserved and a 
royalty of fifteen dollars required for amateur 
performance. Price, Per Copy, 50 Cents 



T. S. Denison & Company, Publishers 

623 South Wabash Avenue CHICAGO 



LBJa'23 



Denison^s Select Plays 

ALL ON ACCOUNT OF POLLY 

By Harry L. Newton. Comedy in 3 acts; 6 males, 10 
females (2 children). Time, 2^ hours. Price, 35 Cents. 

AN ARIZONA COWBOY 

By Sheldon Parmer. Comedy-drama in 4 acts; 7 males, 
5 females. Time, 2^4 hours. Price, 35 Cents. 

A CABIN COURTSHIP 

By Irene Jean Grand all. Comedy in 3 acts; 5 males, 

4 females. Time, 2 hours. Price, 35 Cents. 

CLUBBING A HUSBAND 

By Edith F. A. U. Palnton. Comedy in 3 acts; 12 fe- 
males. Time, 2 hours. Price, 35 Cents. 

A DREAM OF QUEEN ESTHER 

By Walter Ben Hare. Biblical drama in 3 acts; 3 males, 
16 females. Time, 2^4 hours. Price, 35 Cents. 

THE KINGDOM OF HEART'S CONTENT 

By Lindsey Barbee. College comedy in 3 acts; 6 males, 
12 females. Time, 2^ hours. Price, 35 Cents. 

THE LAUGHING CURE 

By Edith F. A. U. Palnton. Comedy in 2 acts; 4 males, 

5 females. Time, 1% hours. Price, 35 Cents. 

LIGHTHOUSE NAn"~ 

By Sheldon Parmer. Sea-coast drama in 3 acts; 5 males, 
4 females. Time, 2% hours. Price, 35 Cents. 

RUTH IN A RUSH 

By Lindsey Barbee. Comedy in 3 acts; 5 males, 7 fe- 
males. Time, 2^^ hours. Price, 35 Cents. 

A SOUTHERN CINDERELLA 

By Walter Ben Hare. Comedy-drama in 3 acts; 7 fe- 
males. Time, 2 hours. Price, 35 Cents. 

A TRIAL OF HEARTS 

By Lindsey Barbee. College comedy in 4 acts; 6 males, 
18 females. Time, 2% hours. Price, 35 Cents. 

WAY DOWN ALONG 

By Gladys Ruth Bridgham. Comedy in prologue and 
2 acts; 7 males, 3 females. Time, 2 hours. Price, 35 Cents. 

T. S. Denison & Company , Publishers 

623 S. Wabash Ave. CHICAGO 



1-922 



Denison's Acting Plays 

Our list comprises hundreds of titles 
—comedies, dramas, farces, vaudeville 
sketches, musical comedies and revues, 
minstrel material, little theatre playlets, 
etc. All shades of sentiment are rep- 
re'^ented, and all varieties of talent, 
number of characters and time required 
in presentation are provided for in this 
list. _ Denison's Acting Plays contain 
defailed description of stage business, 
characters, costumes, settings, and full 
instructions for staging. 

Popular Entertainment Books 

In this series are books touching 
every feattire in the entertainment field; 
Dialogues for all ages, Speakers, Reci- 
tations, Monologues, Drills, Entertain- 
ments, suitable for all occasions; hand- 
books for home, school and church, etc. 
Over sixty titles, each written by a 
specialist in his given line. The books 
are finely made, clear print, good paper, 
and each has a most attractive, individ- 
ual cover desijgn. One of the best and 
most complete entertainment series 
published. 

Send for Complete Descriptive Catalogue v 

T, S. Deiiison& Company^ Publishers ^ 

623 S. Wabash Ave. CHICAGO ^ 



